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DiGiCo DS00 User Manual

1. 4 15 4 5 4 Control Group Modes sss sss sss sss sss eee 4 15 BO SAD re iniaa dacs E E EE 4 6 1 Master and Relative Snapshots cccccceeseeseeeeeeeeeeeeeeeeenees 4 16 4 6 2 Storing a Snapshot cao cece rete eee eee eee 4 17 4 6 3 Recalling a SnapShot cc es ese ee essen 4 17 4 6 4 Replacing a Snapshot ss sss sss es esse eee eee 4 17 4 6 5 Update Master ssss sss essences eee eee eee 4 17 4 6 6 Editing Multiple Snapshots scs ssssss sss ss ecce eee e eee eenn eee 4 17 4 6 7 Moving a SnapShot cs sss esse sese eee eee eee eee 4 18 4 6 8 Renaming a Snapshot ssss sss es esse eee e eee 4 18 4 6 9 Renumbering Snapshots ccccceseceseeeeeeeeeeeeeseeeeseneeeeeeeeeseaes 4 18 4 6 10 Deleting a Snapshot 0 sss sese sese ee eee e 4 18 4 6 11 Snapshot Undo 2 0 0 sss ssssssss neee 4 18 4 6 12 The Snapshot Scope Editor css cesse ees essen 4 19 4 6 13 Channel Scope cs sss cesse es eee eee eee 4 19 4 6 14 Controller Scope css ss cesse sse sees eee 4 19 4 6 15 Snapshot TIMING css sss sss esse es ees ee eee eee 4 20 4 6 16 Snapshot Crossfade css s sss ee eee eenn 4 20 4 6 17 Snapshots and MID ss ss sss sss eee eee 4 21 4 6 18 MIDI Patches lt csssssss sss sss eee eee 4 21 4 7 Control ROOM Monitoring ss sss ss sss sss ss sss esse s sse es eee eee 4 7 1 Control Room Level ss ssssssss esse eee 4 23 v eL oak cata crcstncasncatsnenanseaacnen E 4 23 4 7 3 MONO and DIM sss sss ss cee eee cence ee
2. Sync Session ween Receive Only Receive Only where the console will receive the rack s existing settings but will not be able to control the gain etc on the racks You are about to overwrite all Optocore rack settings on this console with the current settings from the racks Is this OK a em R Full Connect where the console will send its settings to the racks and change them accordingly You are about to update the Optocore racks with settings from this console This may affect live audio Is this OK Full Connect cS fF Yes xX No A 1 2 Gain Tracking Procedures sss sssss sese ssss sese The suggested setup for two consoles which are sharing the same racks is as follows a One operator will be responsible for adjusting the analogue gains on the racks Recommended 1 One console should fully connect to the racks using the System Consoles and Racks panel s Full Connect button for the Optocore racks 2 The operators should agree on and seta level of analogue gain that provides enough headroom for the required application 3 The second console should connect to the racks in Receive Only mode to ensure that it doesn t send its own current gain levels to the racks 4 Gain Tracking should be switched on for the console that is in Receive Only mode consoles for all the channels that are being shared 5 Both operators should use their own console s digital trims to adjust their ove
3. ccccseeeeeeeeeenees 6 13 6 6 4 Routing the Mix Minus Signal to an Output eee 6 13 6 6 5 Talk To Direct Send and Direct Send Gain ssss sss s sss sss esse ee 6 14 6 6 6 Solo Options esec eee eee neee 6 14 6 6 7 Backstop PFL cccccccccceceeeeeeeeeeeeeeeeeeseeseeseeeeeeeesseesonsonsoneseesees 6 14 6 6 8 Auto PFL screeds tees case te sete tsee ee eeeeeepericecetpenne Aaaa 6 15 6 6 9 Solo Modes sss sss ssssssssseee neee eee 6 15 s1 COUN OSINO QUIN O access re cs E ranma esse AREER ERE 7 3 A 1 FOH and Monitors Setup cccccceeceeeeeeeeeeneeeseneensensensensenseneensenees A 3 A 1 1 Gain Tracking Settings sss esse s sse es ccs e esec esen enen A 5 A 1 2 Gain Tracking Procedures css sss esse esse eee eenn A 5 A 1 3 Gain Tracking and Snapshots css sss sss esse sese eee eenn ee A 6 A 2 Redundancy and Mirroring cccccseceeeeeceeeceeeeneeneceesenseneeeesensees A 7 A 2 1 Redundant Optical LOOP ss sss ss sss sese eee A 7 A 2 2 Redundant Mirror Console or Engine sss sss sss sss ees essen A 7 A 2 3 Sync Session cesses ce decade ccc caste teen en exons ence A 9 A 2 4 Mirroring sss sss ss sss esec sss sss sees eenn enen A 9 A 2 5 DiGiRack Control sss sss sese sees eee enen A 10 A 3 PC Remote Control sss ss sss ss eee eee A 13 A 3 1 Remote PC Setup css sese ces e eee eee eee A 13 A 3 2 Remote PC Operation cs sss sese es esse eee eee eee A 13 Ts aie ciseccencnacenstweswaseqcseaasananpoaneaseca
4. These selections do not have to be consecutive sockets you may manually override the default selection and choose sources from different groups Monitor Feeds The box on the right hand side of the screen shows which speakers will be fed by which signals in the different monitor configurations For example in the previous diagram the centre signal is chosen in the select signal column and in the monitor feed section you can see the speakers which will be fed by this signal in the different monitor configurations Centre signal feeds the centre speaker in LCRS 5 1 and 7 1 but feeds both left and right speakers in a stereo configuration The settings can be changed by pressing the ON OFF buttons Pressing Default will reset the Monitor Feeds for this signal to their original settings The default configurations provide settings recom mended by Dolby for the purposes of checking different mix formats on various speaker sets E g ASurround mix on a stereo speaker set a L la H T sad Chapter 4 Source Switch Toggles The Toggle switches one two and three can be configured to change control room sources When pressed they can select a specific source or set of sources If you wish to make A B comparisons between two different sets of sources the buttons can toggle on repeated presses The first press for one set of sources and the second press for another To achieve this you must put Macro commands into the nodes which represent the
5. 4 stereo effects and two effects output processing graphic eq units for processing up to 7 1 signals Broadcast Kit Includes Auto PFL Backstop PFL and Mix Minus per channel 96 max GPO and GPI cards Each card has 16 GPO or GPI s and a maximum of 4 cards can be fitted Optocore connection Optical fibre connection between the console and DiGiRack Channel Expansion additional processing channels in blocks of 32 NetTracs 19 rack mount server with CAT5 connection for file transfer and storage Additional I O cards Analogue AES TDIF and ADAT Additional DiGiRack with 14 blank card slots Modem for remote support 1 2 This Manual This manual is divided into chapters each dealing with one aspect of the console Chapter 1 is a quick start guide that provides an overview of the basic console functions e Chapter 2 describes how to use the assignment and channel controls provided on an Input channel bank Chapter 3 describes the Output channels including Group Direct and Aux Outputs e Chapter 4 describes most of the Master Section functions including console configuration monitoring snapshots and timecode and transport control Chapter 5 describes the console s automation system Chapter 6 describes the onboard Effects Module and other additional options e Chapter 7 provides help with troubleshooting common problems F L la a T 13 Chapter 1 1 2 Hardware 1 2 1 Connections cesses ecce ccs c ee
6. Chapter 5 Relative Trim If you select the Automation Option for Relative Trim the update system behaves differently for faders Relative Trim mode allows you make updates to the channel controls beginning with what was recorded before For example if a fader carefully follows the level changes of a vocal and you then decide you need a section of that vocal to track in the same way but 6dB higher you can trim it up by 6dB without affecting the existing adjustments To enter Relative Trim with the option set appropriately first put a channel in Play mode with the Play LED lit then press the Record button The Play LED stays lit but the Record LED begins to flash indicating that the channel is ready to drop into Trim The fader jumps to the 10dB position all subsequent movement of the fader will drop it into Record Trim and existing levels will be rewritten with an offset relative to the 10dB position Note that because Trim mode is Relative the new fader levels do not override the old ones instead the faders start the Trim pass at the centre of their range and any changes you make are added to the currently stored control levels without overwriting them This means that you can for example use a channel fader to boost or cut a signal while retaining adjustments which you made to that channel level during previous passes Touch Record and Relative Trim If Touch Record and Relative Trim are both selected a fader can be dropped
7. Eea a E ge te te ete eee et nme ee seesaw es pee cee see ee ee ecmeee cneeesuntene 1 15 MF MOV PANIC S cinta note E E 1 15 RIE TU aT Ty oon ee entre ere eee ee 1 16 Be xec vehe cei 1 17 e MONONN O ose EEEE 1 17 2 1 The Input Channels css sss cs ess sc ecce ecce eee neee eee eee 2 1 1 Channel Assignment sss sese es ese ees eee ee ee eee eee 2 3 2 1 2 Worksurface Channels sss sese sese esse sees neee eee 2 3 2 1 3 Input Screen The Standard View ccsccccceseeseeeeeeeseseneeeeeees 2 3 2 1 4 Input Meters css sss sss sse sese eee eee 2 4 2 1 5 Assigning a Channel css sees ec esec ecce eee eee 2 4 2 2 Expanding a Processing Module csccsseeseeseeeeeeeeeenseeeeeeseeeees DAN APUG ele 2 5 2 2 2 Egu aliser WO GUC sc xssrsryarisasstes zrasta inanin ranna 2 8 2 2 3 Dynamics Module sss sss sss ss sssss essen esen eenn 2 9 2 2 4 Pan AUX MOU G ages ecareeeeeedtcs ewe peetgecedincdnwdenictetnceinccheeedenacis 2 11 2 2 5 Routing Module sss sss ss sss ss ssssss essen eee enen 2 13 2 2 6 The ALL Button css cesses eee eee 2 15 2 2 7 Undo Redo Button rc ace ects ses aetna eee 2 16 DO GANON PT 2 16 P N Creating a MN ests eee stews seen cee ie tees 2 16 232 C learning a CT Lh sisin 2 16 2 3 3 How Gang Works css xygsx2sasz senza sas 9299 eaZ 9 NN aaia aaa 2 16 fs 0 P RUT T 2 17 2 4 1 Channel OVerview sss sss esse ecce ee eee eee eee eee 2 17 2 4 2 Overview Setup sss sss es cs cec eee e eee 2 18 2 4 3 Channe
8. Scroll Automation View on Touch Buttons in the Assignment Options panel See Section 4 2 10 force the Automation Editor to scroll vertically in response to a fader touch or solo press so that the fader and mute strip is displayed as near the centre of the editor as possible This function will only work if the channels automation section is in expanded view For example touching a fader in the Input section will only scroll the display to the relevant channel if the Inputs are visible on the display at that time 5 2 2 Scaling the Automation Editor Display scceseeeee The Event Display of the Automation section can be shown at a wide range of scales so that you can choose to see an overall picture of the automation data or a very small amount of the data in great detail You can scale the horizontal time display and the vertical channel display independently by clicking the buttons at the bottom right of the section Vertical Scroll Down Expand Vertical Zoom In on Channels Contract Vertical Zoom Out on Channels Expand Contract Vertical and Horizontal Horizontal Scroll Right E EE Right Button Zoom In Left Button Zoom Out Expand Horizontal Zoom In on Time Contract Horizontal Zoom Out on Time 5 2 3 The Time Line sss sss sss ssc s scene enen The Time Line indicates the current time as displayed on the timecode display The timecode position of the trackball pointer is shown at t
9. Silverglade Business Park Leatherhead Road Chessington Surrey KT9 2QL England Telephone 44 0 1372 845600 Fax 44 0 1372 845656 Email sales digiconsoles com WWW http www digiconsoles com Manual Issue and Date Issue B January 2005 Licence Agreement Product DOO software product produced by Digico UK Ltd intended for use on Target Platform identified below Target Platform Digico DOO Digital Console system In return for the payment of the one time fee the Customer identified at the end of this Agreement receives from Digico UK Ltda licence to use the Product subject to the following terms and conditions 1 The Product may be used without time limit by the Customer on the Target Platform 2 The Customer must register the Product with Digico UK Ltd Registering the Product is deemed an acceptance of the terms and conditions in this agreement 3 The Product and its licence are not transferable and the Customer is not permitted to onward license to any third party The Cus tomer indemnifies Digico UK Ltd against any and all claims and actions arising from third party use of copies of the Product made by the Customer 4 The Customer agrees not to attempt to decompile the object code of the Product otherwise than in circumstances specifically provided for by law and then only after consultation with Digico UK Ltd The Customer agrees not to use or licence the Product for use with equipment other than the Target
10. Compressor GR Direct Out Insert Send The meter display button allows you to scroll through the options meter e Ge U 2 1 5 Assigning a Channel esse sese esec eee cesse ee eee To assign one of the on screen channels so that you can adjust the EQ or Dynamics settings or use the Joystick touch the on screen display of the channel anywhere in the EQ or Dynamics area Not on the In Out switches The background colour of the channel changes to show that it is selected Touching the IN OUT buttons will switch the relevant processing module ON or OFF T Meg Men Kl glo R SHE RT R a p BZ r v de ot There is also an option to assign a channel by either touching its fader or pressing its solo button See Setup Menu Assignments Options 2 2 Expanding a Processing Module Once you have selected a channel you can choose to view any of the processing Modules in more detail by touching the abbreviated display of the section There are five areas of the channel you can touch to see the module in more detail Input Module EQ Module Dynamics Module iL Aux Pan Module Routing Module 2 4 SO IR YTG AE 0 Chapter 2 2 2 1 Input Module sss sss sss sss sss sss essen eee You can display the Input Module for a fader by touching the top of the fader s on screen channel strip where the channel label is displayed You can then hide the module by touching the same area again m Gain Ph
11. Eee With the Edit button pressed pressing the Snapshot buttons does not fire the snapshots it only selects them for editing The selection may be changed by pressing and releasing snapshot buttons at any time during the operation of the Edit command soa variety of controllers or routes may be changed in a variety of snapshots before completing the operation by pressing the Keep button While any Snapshot button is selected changes to any snapshottable controller routing changes and any changes to the Snapshot Scope controls can be written to every selected Snapshot overwriting the previous settings Pressing the Keep button confirms the changes CJ T at Chapter 4 For example if Snapshots 1 and 2 are selected and the input gain for channel 1 is changed subsequent recall of Snapshots 1 or 2 will set channel 1 s input gain to the new value Only channels which are altered while the Edit command is active will be affected and only in snapshots that are selected at the time If Cancel is pressed instead of Keep all snapshots changed since the Edit button was pressed are returned to their original states irrespective of which are currently selected This allows any accidental changes to be undone If there is not enough memory to store a copy of every edited snapshot a warning is displayed and the Cancel button is disabled A change in any of the following settings can be copied to all selected snapshots in edit mode Snapsho
12. 1 4 Output Insert css sss sss sees sese In the buss master routing panel there is an Output Insert facility that can also be used to route signals to effects and processing This is particularly useful if you wish to use FX5 or FX6 to process the output of a buss In this situation the output should be routed to its normal destination but it will be diverted through the Effects module for processing Touch the Send button and select the input to the required effects module then touch the Return button and select the output from the same module Then touch the Output Insert button to switch it on oS oo es Chapter 6 6 2 Effects Control 5 2 1 Effects Parameters sss sss s see sees nenen enen Touching the Effects button in the Master Screen opens the following panel f TEMPO HI FILTER MOO RATE r OD DEETH DELAY F FEEDBACK LO FILTER Touch the tabs at the top of the panel to select the effect that you wish to adjust Normally two effects modules are shown in the panel but the output processing module uses the whole panel on its own If the name on the tab is greyed out an effect type has not yet been assigned See 5 1 1 Selecting effects The effects parameters available will differ according to the type of effect chosen To adjust a parameter touch the on screen control that you wish to change and use the Matrix rotary and switch on the right of the master worksurface They can also be adjusted by moving the trackball
13. 2 FX 6 3 FX 6 4 FX 6 5 and FX 6 6 6 8 SOUNDTRACS Chapter 6 6 3 EX 00 Fader Expander Unit Up to four EX 00 eight fader expander units can be added to the console to provide a worksurface with up to 49 faders These units are exactly the same as the standard Input Section and provide the same functions e e o e e o e 8 Each expander unit is connected to the rear panel of the Master worksurface using a SCSI cable Ex 001 Ex 002 DOS O 5 9 Chapter 6 6 4 FP 00 Film Panel Expander Unit Designed specifically for mixing larger scale feature films this unit has dedicated paddle switches to switch between buss and tape and user presets providing recall of the sources which are routed to each of the paddles 6 10 SOUNDTRACS Chapter 6 6 5 HD 00 Expander Unit A 19in rack or surface mounted section to provide space for either a hard disk editor controller or other outboard equipment E CES O d Chapter 6 6 6 Broadcast Options The following information is specific to the DS 00B and deals with additional features that do not appear on the DS 00 BD MIX NI ee ee ocr The first four mono group busses can be designated for mix minus in which case they have no fader mute or limiter and appear differently coloured They are provided as an additional direct send from input channels with the channel signal removed IH LIMITA REC G PLAY SOLO a a 6 6 2 Creatin
14. Control 3 4 Group Routing 2 14 H HD 00 6 11 Headphones 3 7 Hipass Lopass Filters 2 9 Hold To Record 4 30 Include 2 18 Independent 1 8 Input Assign Function 1 10 Input Balance 2 6 Input Meters 2 4 Input Module 2 5 Input Normalising 6 6 Input Screen 2 3 Input Source 1 10 Insert 5 5 Insert On Off 3 3 Insert Point 4 28 Insert Routing 2 15 Insert Switches 5 16 Internal Sync 4 33 Isolate 1 8 Isolate mode 5 4 Isolate Mode Automation 5 2 J Jog 4 32 Join Levels 5 16 Joystick 2 12 K Key Solo 2 10 L Label 3 4 Layout 2 17 Leave Gap 5 5 Level Events 5 15 Level Trim 3 5 Limiter 3 5 Limiter In Out 3 3 Limiting 6 7 Listen to Copied MADI 4 5 Live mode 4 5 Load Presets 4 10 Load Session 4 7 Locate Points 4 30 Loop 4 31 Machine Control Enabling 4 32 Macro Command 4 28 Macros 4 29 Main Buss Mode 4 6 Main Channels Dynamics 6 7 Main EQ 6 7 Manual Nulling 5 3 Master Audio Outputs Active 1 8 Master Screen Scroll 1 13 Master Screen Status Display 4 3 Master Section Meters 4 12 Master Snapshot 4 16 Merge 4 10 Meter Ballistics 4 12 Meter Bridge 4 12 Meter Button 4 12 Meter Monitors 4 12 Meter Selected Busses 4 12 Microphone Talkback 4 13 MIDI Machine Control 4 32 MIDI Patches 4 21 MIDI Snapshots 5 8 Misc Signal Group 2 5 Mix Minus 6 12 SOUNDTRACS Index Mix Minus Busses 6 12 Mix Passes 4 9 Mixer Talkback 4 14 Monitor CR 1 2 and 3 4 23 Monitor Feeds 4 27 Monitor Matrix 1
15. Main buss as Stereo LCRS 5 1 or 7 1 Surround This also affects the options for selecting the Group and Aux buss formats if the Main buss is stereo the other busses cannot use the Surround formats and if the main buss is Surround format the other busses cannot use a different Surround format although they can be stereo The Output Groups and Aux Outputs settings allow you to define the format and number of the Aux and Group busses The total amount of busses cannot exceed 39 excluding one PFL Buss Manual Session jm Si i ae J Cok et _ ee cecal ces Note The total number of busses available will be affected by the choice of solo mode selected in the Setup Menu Solo For example if you wish to use AFL within a 5 1 Surround console configuration an extra 6 busses will have to be reserved for that purpose 4 6 SOUNOTE ACS Chapter 4 4 2 3 Clearing Settings sss sese ssss sss s cesses sees s eee esen ee When you start a new session all current settings will be inherited by default but Automation and Snapshots will be cleared The buttons at the bottom of the New Session panel allow you to clear settings according to your own requirements When the buttons are pressed the relevant settings will be cleared If you are simply adjusting the buss configuration of an existing console you are unlikely to wish to clear all of your current settings You may also choose to Set all Input Direct Sends to Pre Mut
16. Platform The Customer agrees not to modify the Product without the prior written consent of Digico UK Ltd This Agreement applies to any enhancement or upgrades that may become available for the Product This Agreement does not transfer any right title or interest in the Product to Customer except as specifically set forth herein Digico UK Ltd reserves the right to terminate this Agreement upon breach in which event Customer shall thereafter only be authorised to use the Product to the extent that its contractual commitments to third parties require and then only where such commitments relate to use of the Product as authorised in the foregoing provisions of the Agreement LIMITED WARRANTY Digico UK Ltd warrants for a period of 1 year from the date of purchase of the Product the Product will reason ably execute its programming instructions when properly installed on the Target Platform In the event that this Product fails to execute its programming instructions during the warranty period the Customer s remedy shall be to return the Product to Digico UK Ltd for replace ment or repair at Digico UK Ltd option Digico UK Ltd makes no other express warranty whether written or oral with respect of this Product LIMITATION OF LIABILITY Except as otherwise expressly provided by law a the remedies provided above are the Customer s sole and exclusive remedies and b Digico UK Ltd shall not be liable for any direct indirect special inciden
17. Play On Stop 5 3 SYNC CONSOLE A 7 Sync Outputs 4 34 Sync Sockets Files A 7 Sync to Audio Signal 4 34 Synchronisation Digital 4 33 System Menu 4 4 System Options 4 4 System Shut Down 4 4 System Status Indicators 4 4 T Talk To Direct Send 6 14 Talkback 4 13 Talkback Configuration 4 13 Talkback Mic 4 14 Talkback Mixer 4 14 Talkback Presets 4 14 Tally Transport Control 4 31 TDIF Digital Sync 4 34 Time Line 5 10 Timecode 4 30 Timecode Output Enable 4 32 Timecode Source 4 31 To Master 3 4 Touch Faders 4 15 Touch Record 5 2 Touch Record 5 3 Track Arming 4 32 Track On Off A 5 Transfer Presets A 9 Transfer Session A 9 Transfer Sockets A 9 Transport Controls 4 30 Trim Block 5 6 U Unattended 4 5 Undo 5 16 Undo Redo 2 16 Update Master 4 17 USB Data Port 4 8 V Video Sync 4 33 Video Sync Lock Indicator 4 32 View All Buttons 5 10 View Follows 4 12 VU Default 4 12 W Width 7 4 Word Clock 4 33 Worksurface Channels 2 3 Write to End 5 17 Write To Start 5 3 Write to Start End On Stop 5 3 Writeback 5 17 Z Zero Point Timecode 4 30 Zoom 5 16 SOUNMTE ACS
18. RN i i rah sa k i 1 1 E 1 3 4 Input Assign Function sss sss sss sse ss sees ee eee eee ee The Master Section may be used to control one bank of input channels by pressing the Input Assign button beneath the Master Screen Holding this button down and pressing a Fader Bank button will change the bank that is being controlled The Master Section faders mutes solos and automation buttons apply to the selected Fader Bank You can display the Input Module for a fader by touching the top of the fader s on screen channel strip where the channel label is displayed You can then hide the module by touching the same area again m Gain Phase Mici Mici Signal Label Stereo Channel Mode Selector 7 Signal Group Selector Signal Selector Phantom Power Preset Selector Mic i p only R 19 Signal Delay Input sources are divided into groups of signals eg Stage 1 8 or Line 1 16 1 10 SOUNDTRARACS Chapter 1 To select an input source 1 Touch the top of the input screen to open the input panel 2 Touch the name of the Signal Group to view the signal names 3 Touch the name of the signal to assign it to the channel 4 Adjust the gain with the rotary control at the top of the channel 5 Touch the top of the input screen again to return to the standard view Note Touch the Lab box and type a name for the channel if required If the Stereo is pressed the input channel functions will con
19. Repeat his process for the other device s and start the D5 application on all of them As the system has been defined as consisting of more than one device the Consoles amp Racks panels should open automatically and the Ethernet Connected line should show a green OK light and not a red cross 4 Proceed with Syncing the Sockets Presets and Session files and then Mirroring as described in the previous sections on Mirror consoles 6 2 3 and 6 2 4 A 3 2 Remote PC Operation sss sese sees eee eee To use the software with a mouse and keyboard the following functions are necessary Left mouse click on anon active window makes it active Right mouse click on a window functions as a screen touch Left mouse click on a switch to turn it on or off Hold down left mouse button and drag to adjust rotaries and faders Up Down arrows scroll rotary assignment on all input screens Page Up Down acts as the screen scroll button in the Master section The Shift key acts as the All button for all surfaces i Running on a laptop or desktop PC a single knob and button device can be connected to the RS232 COM port and used to alter control lers on the PC screen under the mouse cursor A new entry in the D5 ini file is required for this COMport n where n 1 or 2 for COM1 or COM2 or the default of 0 for off don t open COM port in case something else is connected es E Ies 6 13 AppendixA 6 14 SOUNOTeAcS I
20. SOUNMTE ACS Chapter 5 5 1 10 Snapshot Automation sss ss esse sese ecce seene eee The snapshots can be integrated into the automation system to allow control of non dynamically automated parameters or simply to allow instant changes for the entire console which are all tied to a single editable event For more information on how to store and recall snapshots see section 4 6 You can use Snapshots in conjunction with the Automation system in two ways 1 By firing the Snapshot with the channels in record mode This is an easy way of entering control changes for a large number of channels simultaneously To use this method put the channels into Record Update and the Snapshots into Isolate 2 By recording the firing of the Snapshot This automates the replaying of the Snapshot rather than recording the data in the Snapshot into each channel s automation To use this mode put the channels into Isolate and the Snapshots into Record The first method does not automate the snapshot itself and its use is identical to normal dynamic automation as described earlier The rest of this section is devoted to the second method Automating the Firing of Snapshots To allow the second of these options the Snapshot control panel on the Master screen has its own Rec and Play buttons and LEDs lt a Scope ved Timing bets Undo 2 fr delay control by duration control by automation Rec Play Snapshots gig dit
21. Signals can be routed to the effects modules from Direct Outputs Insert Sends Auxiliary Outputs and Group Outputs An output routing Socket Group named Effects which contains the list of all the effects modules inputs appears in the output socket routing panel In a similar way the returns from the effects modules appear in a signal group named Effects in the input socket routing panel yn This group contains left and Right sockets for FX 1 to 4 and 8 sockets each for FX5 and FX6 Therefore FX5 and FX6 can be used for output processing on stereo or surround busses When using Graphic EQ on FX5 or FX6 FX5 1 to FX5 6 and FX 6 1 to FX 6 6 can be used as 12 separate mono EQ s or 6 stereo EQ s 6 1 3 Effects and Auxiliaries css cs scs ecce ee eee Touch the relevant auxiliary bus on the Master Screen to open it and then touch the Routing box beneath the meter to show the output socket routing Select the effects socket group and then the output which you require eg Reverb L Note If the auxiliary is stereo selecting Reverb L will automatically route the left and right signals to Reverb L and Reverb R RAL To Effects ovy K 6 4 SOUNDTRACS Chapter 6 The output of the Reverb module must then be monitored in a channel by opening the input routing screen selecting the Effects signal group and then selecting Reverb L from the signal list Touch the Stereo button to monitor Reverb L and Reverb R in the same channel 6
22. Solo Trim control is adjusted this panel will automatically appear and the Trim Level value will change to reflect any adjustment Solo Safe Solo safe may be used in any solo mode Ifthe Solo Safe button is pressed channels that appear on the list will be soloed automatically whenever any other solo is pressed To add channels to the list press the Touch Faders to Select button and touch the required faders When the Solo Safe button is switched off the list is not affected and the Solo Safe function is disabled The contents of the list are saved in the session files NOTE If one of the channels on the list is soloed manually the other channels are not automatically soloed with it es E Ies 6 15 Chapter 6 SOUNMTe Acs Chapter 7 Chapter 7 Troubleshooting fi H d T Chapter 7 1 2 SOUNOTE ACS Chapter 7 7 1 Troubleshooting If you are experiencing any difficulty with DS 00 operation please check the following commonly asked questions and answers If any user s would like to contribute to this section of the manual please send the details of your questions to support digiconsoles com don t seem to have any control over the analogue gain Open the System Consoles amp Racks panel and check the settings under DiGiRack control To control the analogue gain on the racks you should have the Full Connect buttons pressed for MADI and Optocore racks am trying to select input sources for my higher
23. The Input Channels The console Worksurface consists of a Master section and one Bank of faders for controlling input channel or auxiliary levels Internally the console has 64 processing channels 2 1 1 Channel Assignment sss sese sees sees sese ese esec eee enesenn The assignment of audio input channels to faders on the DS 00 worksurface is soft so that there is no direct link between channels and faders The standard console configuration has 8 analogue inputs 24 AES I O and an 8 I O optical connection which are then assigned in blocks of eight to the console s physical fader banks Input Gain and Phase E Channel Meter Status 4 Band Parametric EQ Undo Redo Button Aux Pan Dynamics Controls Dynamics Thresholds and On Off Automation Rec Play Switches m E zemee Z Mute and Solo Switches 1 Joystick Channel Faders Channel Fader Banks When you want to access an input channel which is not currently visible on a worksurface channel press the relevant Fader Bank button on the console worksurface 2 1 2 Worksurface Channels css ss cc ecce c ee e eee Each fader bank has eight channels Each channel has Mute and Solo switches and Record and Play buttons which are used for automation see chapter 5 The remaining rotary controls and switches are used to control auxiliaries and dynamics functions As well as anumber each channel has a Label which you can define Labels can be up to 31 characters but only the start of
24. The destination channels will be overwritten and their previous settings will be deleted Scope Which controller values are copied depends on the scope buttons beneath the word Include INP all input routing controls including gain and signal source EQ all EQ controls plus HP and LP filters DYN all Gate and Compressor controls plus gate key route and HP LP filters in dynamics AUX all aux send controls FAD channel fader positions PAN L R and F B pan or balance Sub and Divergence levels and switches GRP Group routing buttons only Channel mutes and control group membership are always included Direct Outputs and Insert Sends can only be fed from one channel at a time and therefore their routing is not copied Stereo channels will be copied as long as sufficient audio processing unrouted channels is available otherwise they will appear as mono 2 4 6 Duplicate Channel sss sss sss sss es essen e Where Copy Channels only duplicates each of a block of channels once the Duplicate Channel panel allows a single source channel to be copied into several destination channels duplicating the source several times JOP Cate Input Channel last destination channel in range DEMA co ieee Touch a fader to define which channel will be duplicated and then touch two more channels to define the destination range The source channel will be duplicated into each channel in the destination range Scope is applied in the same
25. all input channels to the buss Any fader which is being touched will be omitted from the connection process to facilitate the set up of a mix minus feed Clear All clears the routing of all input channels from the buss Any fader which is being touched will be omitted from the clearing process and remain connected to the buss To Master allows the group to be routed onto the Main Buss Only groups whose width is the same as the Main Buss can be routed in this way ie stereo groups on a stereo console surround stems only in surround modes When a buss is routed to the Main Mix audio processing resources are taken from the highest numbered available input channels If insufficient channels are available a message is displayed quoting the number required If any of the input channels routed to the group are also routed to the Main Mix a warning is displayed Note The To Master button is not included in snapshots 3 4 SOUNDTRACS Chapter 3 Auxiliary Buss Control PRE ute PRE Fader POST Mute PRE Fader POST Mute POST Fader Copy Levels from Faders Set Levels OFF Set Levels to OdB Switch All Pre Mute Pre Fader makes the auxiliary sends for this particular buss pre mute and pre fader on all channels Switch All Post Mute Pre Fader makes the auxiliary sends for this particular buss post mute and pre fader on all channels Switch All Post Mute Post Fader makes the auxiliary sends for this particular buss post mute
26. and post fader on all channels Copy Levels from Faders makes the auxiliary send levels for this particular buss the same as the fader levels on each different channel Set Levels OFF turns off all the auxiliary sends for this particular buss on all channels Set Levels to 0dB makes the auxiliary send levels for this particular buss OdB on all channels 3 2 3 Level Tri icceseesecewce ttc aesescnds n a aa aaan This trims the level for each buss signal For Stereo or Surround busses you can trim the level of each signal independently using the fader below the display The faders can also be assigned to the Limiter controls see below touch the Level Trim display to assign the fader to the Level control 3 2 4 Limiter sss sss sss ss enesenn eean The Limiter is a feed forward system which provides absolute signal limiting You can operate the on screen In Out switch by touching it or by using the LCD button As with the Level the Limiter Threshold and Release time are set using the fader below the display To adjust eg the Threshold setting touch the on screen display of the Threshold this will make the on screen Threshold slider control turn red indicating that this control is now assigned to the physical fader below the screen The Over indicator lights up whenever the Limiter is activated or if the Limiter is switched out whenever the buss signal level goes over OdB Once lit the Over light stays on until it is touched a NUN ee a
27. becomes the master sample rate for the studio Sample Rate Convertors The AES EBU Rack Modules are equipped with Sample Rate Convertors This allows the console to synchronise incoming digital signals of differing sample rates to avoid the glitching which occurs when signals with different sample rates are mixed The TDIF and ADAT digital inputs do not have sample rate convertors so to synchronise correctly with equipment connected to these sockets you must either choose the socket as the master sync source for the console or make sure that the unit itself is synchronised to a master video or word clock which is also connected to the relevant input on the console rear panel and selected as the console sync source 4 34 SOUNMTEACS Chapter 5 Chapter 5 Automation CJ la LIL 5 1 Chapter 5 5 1 Real Time Automation DS 00 s automation system can record and play back the movements of most of the console s channel or buss controls Real Time Automation operates while timecode is running and allows you to record the adjustments you make while listening to the audio Note that this depends on the presence of timecode so if you are not using the console as your timecode source you must ensure that it is properly synchronised with your recording and or sequencing units before you can use automation You can also use the special on screen editor which displays the adjustments or events which you made in Real Time and lets you edi
28. begin then press and hold down the mouse left button and drag the pointer to the position where you want the Fade Out to end If you drag the pointer down or up across several channels all the channels within the dragged area will be affected Join Levels Li Joining two levels together means fading from one to the other smoothly over a period of time The Join tool works like the Fade Out tool you choose which levels to Join by dragging the tool from one screen position to another The Join affects all the lines over which you drag the tool Join is very powerful You can use it across any level events to crossfade EQs for example and to quickly tidy up other changes which you would otherwise have to null Zoom e Zoom allows you to control how many lines and what period of time you are viewing in the event editor window To change the view click and drag to draw a box around the events you want to see The scaling will redraw as closely as possible to your selection You can use the Zoom controls in the bottom right hand corner to fine tune the settings see 5 2 2 Scaling the Automation Editor Display Clear Track LK This tool allows you to delete the data for a single line or track Select the tool click on the track and after confirming the line cleared 5 16 SOUNMOTe ACS Chapter 5 5 2 10 Write to Start and Write to End sss sss esse esen In the timeline there are two blue lines which represent Write to S
29. control which is not possible with the channel buttons They also allow you to set the status fora group of channels in a section The S button makes a control safe from overwriting This means that you cannot accidentally place the control into Record either by touching or by initiating global commands and also that you cannot edit their events in the timeline event editor Sale MOUE ene een ee ee eee E E ee eres Any channel or control can be made Safe Clicking on the Safe button in the Event Editor is the only way to set Safe mode Safe controls and channels are shown by being greyed out in the display You can use this facility when editing If you need to affect a group of channels except one or two place them in Safe mode and use the drag select tools to select everything around them Safe mode is also useful when you are combining dynamic automation of some controls with snapshot automation For more information about using Safe mode with dynamic automation and with snapshots see section 5 1 6 Safe Scope Below the toolbar in the top left hand corner of the screen are eight scope buttons determining which controllers the global safe functions will affect Safe buttons on expanded strips for individual controllers are not affected by the scope Global Safe Safe Scope Buttons SESE Eg Gres B am Fs a gt R SERRE wo RARE Above the column of Rec Play Safe switches there is a Global Safe button Pressing this will make all the co
30. controls at the right side of the screen operate corresponding to the on screen controls Preset Selector Presets are used not only for complete channel setups but also for EQ and Dynamics setups They provide a way of storing the EQ settings for a particular channel so that these settings can be recalled instantly at a later date or for another channel Touching the EQ module s Presets button displays a Selector panel for the EQ presets The panel works in exactly the same way as the Channel Preset Selector described earlier in this section see 2 2 1 although an EQ preset only contains settings for the EQ controls not for the whole channel Flat Button The Flat button forces all controls on the channel s EQ section to their default settings Equalisers Filters two and three blue and green are swept parametric bell curve equalisers with a centre frequency range of 20Hz 20KHz They provide up to 18dB Cut Boost with Q adjustable from 0 1 to 20 Filters one and four yellow and red default to being a Hi and Low Shelf but each has an additional Curve switch which allows you to select HiShelf Lowpass or Bell for filter one and LoShelf Hipass or Bell for filter four When the Hipass or Lowpass function is selected the filter operates at 12dB Octave and the Q and Gain controls disappear Hipass Lopass Filters The Hipass and Lopass filters at the bottom of the module purple and orange operate at 12dB Octave and can be swept fro
31. essential switches and channel fader which may be operated with the trackball if required The white area at the top is a Touch Select indicator like the channel label on input screens Cyan touched Yellow selected when moving or copying channels Selecting channels may be done with the trackball by left clicking on the start of the range dragging to the end then releasing This will enable the Copy and Move buttons at the top which display the relevant panel when pressed Touching one of these buttons will open the Move or Copy Channels panel which will already contain the range of channels which you previously selected The next left click on a channel defines the start of the destination range Note The Copy button will automatically display the Duplicate Channel panel if only one channel is selected to be used as the source Otherwise the Copy Channels panel is displayed Selection may be cancelled by right clicking on a selected channel Right clicking on anon selected channel temporarily pops up the number and label for the channel Coloured rectangles surround the channels which are currently assigned to the worksurfaces The panel may be touched to move the assignment scroll the inputs Cs la R T Ss Chapter 2 2 4 2 Overview Setup sss esse es cesse ee eee To change the appearance of the Overview screen touch the Layout button on the Master Screen and touch the Overview Setup button JVEN Tew screen setup RST l
32. horizontally whilst holding down the left button 5 2 2 Output Processing Parameters sse sese ees cesses ee eee If you are using FX5 or FX6 as output processing modules the appearance of the Effects Control panel will depend on the size of the master that you have selected eg Stereo LCRS or 5 1 Stereo Master Successive presses of the button in the lower left corner shows each of 3 sets of controls but the Trim and In Out controls are global and appear on all of the panels Input Normalising Provides Input Gain and Phase controls for the left and right signals GAIN PHASE GAIN PHASE INPUT HORMALISING U E cf TRIM Output Normalising Provides Output Gain and Phase controls for the left and right signals OUTPUT HORMALISIHG U cf TRIM 6 6 SOUNDTRACS Chapter 6 Main Channels Dynamics Provides Crossover adjustment 3 band compression and Limiting tet TYT Large hall TS Stereo master ffe Stereo master 2 01 Ehe 3 04 dE L 04 Aea 12 77 AE 0 00 dE SIH Stereo master PEL THR p L E E S c o A L a L mi 5 L 5 K 4 gt I RE 259 o oo A o oo EE 00 I T 0 00 ety S T 0 00 de MAIN CHANNELS A i i E z Oo E E 12 z Ta our fa ma K 18 E z SF a A E K SAFE a GR Gk GR LIF L R v y Click here to change Click here to view Click here to view Processing In Out parameter view Threshold Limiter Attack Threshold or Release Release Ratio Main EQ Provides 4 Band EQ w
33. individual controllers only displayed automation is copied or moved 5 2 7 The Selection Tools ccccccsccececcccceccecacecececeecaccceaceeneeneneaees These tools are used to select Events aN rake Lr Selection Tool s To select a single event click on the Selection tool then on the Event To select a group of events move the selector tool pointer to one corner of the range you want to select then hold down the left button and drag the pointer to the opposite corner The red and blue buttons next to the selection tool are toggles which control the way the Selector tool operates Once you have clicked the Selector tool button you can choose whether to select only Switch events or Level events or both by clicking these buttons Events are highlighted to show that they are selected and an outline box appears around the outside of a selected group To de select individual events within a selected group hold down the lt Ctrl gt key while clicking on the event 5 14 SOUNDTAACS Chapter 5 Switch events are e Channel Mute e Output Channel Mute e MS Decode On Off e Aux On Off e Filter In out e EQ in out e Gate In out e Compressor In Out e Sub Mode Level Events are e Input Gain e Fader Level e LR Pan e FB Pan e Aux level e Aux Pan e EQ frequency e EQ Gain s EQ Q factor e Filter Frequency e Divergence e Sub bass send e Compressor Threshold e Gate Threshold e Output Chann
34. into Record Trim directly from Play mode If the Play LED is lit touch the fader and the Record LED will flash Existing events will then be rewritten with an offset from the drop in level as opposed to the 10dB position in the previous example Crashing Out of Trim Update Instead of using the Auto Nulling feature you can choose to crash out of Update Trim into Play mode This means that the transition from the newly recorded level at the drop out point to the old level at the next frame is abrupt To crash into Play mode instead of pressing the button Play once as you would do to null out press it twice You can also crash out into Record mode by pressing the Record button while in Trim mode Crashing into Record mode means that from that point onwards changes to the fader mute and pan settings will over write any automation data from earlier passes instead of being added to it Scope of Record and Play Buttons The other section of the Automation configuration window refers to which sets of controls will be included in the Automation Different controls can be isolated from the action of the record and play buttons by making selections in the Scope section If you have chosen to isolate certain types of controls and later reinstate them the previously isolated control will be switched to match the automation mode of its parent module ie the mode set by the channel or master automation record and play buttons If you have chan
35. network details show that the FOH Main console has an IP address of 192 168 2 11 and the FOH Mirror console has an IP address of 192 168 2 19 All other aspects of the two consoles are identical The console IP Address which should be unique to each device but only differ in the last of the four numbers The number after the last dot These IP Addresses are assigned to the consoles and engines at the factory and should not be changed unless two devices in the same system have the same address The console Optocore ID which should be unique to each device in the system that is connected to the optical loop Settings on Remote Control devices such as a remote PC or RC are not significant Console Optocore ID s should be as follows FOH Main Console 20 FOH Main Console s Mirror 21 Monitor Console 22 Monitor Console s Mirror 23 SOUNDTRACS AppendixA A 2 3 DY NG SOS eT The Main console and Mirror must have the same Sockets File Presets File and Session File and this can be achieved by using the Sync Session Functions Assuming that a session has already been created on the Main console and its Sockets file is as required then proceed as follows Working on the Mirror Console used to mirror the Main console press the Sync Session button and this panel will open D5 Select here to update another console Select here to update this console Select here to update the sockets file This shows a list of
36. of all the console controls A Relative Snapshot red entry in the list is a snapshot of the current state of all the console controls but the variable dB controls such as the fader levels gains and auxiliary sends are stored as offsets from the previous Master Snapshot in the list Therefore if the level of a dB control is changed in the Master Snapshot the same control will change by the same amount in all of its relatives Non dB controls such as Dynamics times EQ Frequency amp Q and Pans that are changed in the Master Snapshot will only be updated in the Relatives if their value is the same 4 16 SOUNDTAACS Chapter 4 Commonly a Master Snapshot would be used as a starting point at the beginning of a performance and would contain all the basic routing and levels The subsequent Snapshots would be Relative and would contain the changes that were required for each different part of the performance If used in this way any global changes that are made to the Master Snapshot will automatically update the relatives without changing each snapshot individually 4 6 2 Storing a Snapshot sss ssss sees sees eee eenn eee To store a snapshot of the current state of all the console controls simply touch the Snapshot panel s Insert button and anew snapshot will be inserted below the current highlighted snapshot Alternatively touch an unused button in the list and a new snapshot will be added to the end of the list then type a name for the s
37. of the software program is with you NO LIABILITY FOR CONSEQUENTIAL DAMAGES Embedded manufacturer s suppliers shall not be held to any liability for any damages suffered or incurred by the end user including but not limited to general special conse quential or incidental damages including damages for loss of business profits business interruption loss of business information and the like arising from or in connection with the delivery use or performance of the software pro gram SPECIAL PROVISIONS This Software License Agreement and Warranty are governed by the law of the State of Washington USA Attachment to the License Agreement dated 16 August 1996 between Microprocessor and Memory Distribution Ltd and Soundtracs PLC SMUNDTRACS DS 00 Contents ki Ne GOWNS ONC T 1 2 This Nanual csssss sss esse esen enen nnmnnn Ne J PVN AO T Test Le eio e 1 4 1 2 2 The DiGiConfig Program css sss ss sese sss s esec eee eee eee 1 5 Ms CO CUMING VAN UO Oh TTT 1 3 1 Consoles and Racks sss sss sss eee eee 1 8 1 3 2 The New Session Panel css sss essen eee 1 9 1 3 3 Selecting an Input Source cesses esec eee e eee eee e eee eee eee 1 10 1 3 4 Input ASSIGN FUNCTION ss sss ss sss ss sss ess ese es eee eee eee 1 10 1 3 5 Routing the Channel Signal sss s sss ss ees es sese eee eee ee 1 11 1 3 5 Routing Busses To Output sss ss sese seene eee 1 13 1 3 6 Save AS New Fille sss sss ee eee 1 14 1 3 7 SAVE SESSION 00 cesse eee eee eee 1 14
38. result a warning message is displayed instead Move Intervening means move the source range to the destination position and shuffle all channels between the source and the destination including all channels in the destination range to fill the gap left by the source range Swap Channels swaps the source and destination ranges leaving intervening channels alone Move and Swap have the same effect if the source and destination ranges overlap After a Move or a Swap the selections are cleared but the panel remains visible tor a new selection The shuffle buttons do not clear any selections and remain enabled as long as at least one source channel is selected Single channels may be moved or swapped simply by touching the source channel twice when the top selection button is pressed Any of the three selections can be changed by pressing the relevant button and touching a fader Cs la R T eso Chapter 2 24 5 CODY Channels icsiieniieccetscvicnoincrnnevasscousaneerennteuncstndtoubieceeanlens Touching the Copy Channels button in the Layout menu opens the Copy Input Channels panel which allows different elements of channel settings to be copied Copy Glock of Input Channels first destination channel DEMA C Touch faders to define the start and end of the range to be copied and then touch a third fader to define the destination for the left hand side of the group The selected group will be highlighted in yellow in the input screen
39. scope for one snapshot indicated by a light band linking the snapshot list to the scope The scroll buttons in the centre of the panel move the scope editing up and down the snapshot list If the Preview button is pressed the scope for the next snapshot in the list is displayed 4 6 13 Channel SCOPE css esse sees eee The input channels which are included in each snapshot can be set by pressing the Touch Faders To Select button and touching the required faders which will be added to the list touching a fader again will remove it from the list Press the All Channels button if the snapshot is to be global If the Exclude button at the bottom left of the panel is pressed then the snapshot will apply to all the channels which are not on the list Note If both All Channels and Exclude are highlighted the snapshot will have no effect on any input channels Channel scope is not applied when recalling layouts KEE E Wain 7 aL in 4 6 14 Controller ScOpe sss sss sss sese seene Controllers The first eight Controller scope buttons relate to input channels only Input digital trim delay label input balance ms decode left right swap EXCLUDES Stereo switch EQ all controllers Dynamics all controllers except stereo link Aux Sends aux send level on off pan pre post Panning panner divergence sub level Mute channel mute switch Fader channel fader Bussing buss routing buttons Effects all FX co
40. set up a Source Switch Macro which would toggle between these two sets of sources by simply pressing one of the 3 Toggle Switches To Assign Control Room Sources If you press the Sources Setup button in the Control Room Panel a new panel will appear which allows you to assign the sources Touch one of the source button labels and then touch one of the existing sources on the list to assign it to the button Selecting Mix mode for the sources will allow you to monitor several sources together and Single mode will switch off the current sources when a new one is selected 4 26 Chapter 4 To Create or Edit Control Room Sources Touch the button labelled Edit Sources in the Assign Control Room Sources panel a on a P P aa _ oo T oo or so oo oN _on ON DEFAULT meaa You may select an existing source in the column on the left hand side or define a new one by pressing one of the buttons in the column marked New Touching an existing source button a second time will unassign it The Delete button will remove the selected source from the list A new source can be named in the Label box and then each signal of the source can be defined by pressing one of the Select Signal buttons and choosing a source from the list of signal groups and signals in the next column Note If you select a source for the left signal at the top of the list the following signals will by default be set to consecutive sockets in that group
41. settings and therefore in the case of loss of worksurface control on the Main console the Mirror console s worksurface can be used to perform any function If the console s audio engine function is recovered then the operator can transfer audio processing back to the main console at any time with the press of a single screen button NOTE The most important aspect of the connection system is that the optical fibre cables are always in a strict Port A to Port B configuration Connecting any device s A port to another device s A port may result in a malfunction of the system The same applies to B to B connections If your system has more devices simply continue with the A to B rule When using optical connections the Main and Mirror consoles should both be set to OPTOCORE sync in the Setup Audio Sync panel on the Master Screen Stage Racks should always be next to each other in the chain so if you were connecting a third rack into the system below it should be positioned between Stage Rack 2 and the Mirror console In this example there are 2 consoles with 1 local rack sharing signals from 2 stage racks When the consoles have been connected and started their Sessions must be Synced using the SYNC CONSOLE function on the Consoles amp Racks panel There are also options to Sync Sockets Files and Presets MADI available for independent feeds for broadcast recording etc STAGE RACKS OPTO B 3 MIRROR CONSOLES 8s USING OPTOCOR
42. snapshots from one console If there is a requirement to change input socket routing and or analogue gains with snapshots then only one console should control the gains The second console should have either a Input Routing Scope removed from all of its snapshots this assumes that there is no requirement to change input socket routing with snapshots OR b It should be in Receive Only for rack commands so that it cannot send its own analogue gain changes but can still have Input Routing Scope on and therefore change input socket routing with snapshots Gain tracking should be switched on for the second console so that unforeseen gain changes on the first will not affect its overall balance Gain tracking may also be switched on for the first console but this is not really necessary as the second console will not be controlling the analogue gains at all When the first console stores a snapshot that will change analogue gains the second console should then store its own snapshot that reflects the required digital trim settings to compensate for that change These snapshots should then be fired at the same time approxi mately during the show Note The most important aspect of this procedure is the coordination of snapshots between the two consoles It is not advisable for the two operators to store snapshots independently of each other they must both store snapshots at the same time 6 6 SOUMNMTE ACS AppendixA A 2 Redundancy a
43. stage racks to signals received at the MADI inputs on the console s rear panel In this way a MADI equipped multitrack recorder can be connected to the MADI 1 In and Out on the rear of the console and record the stage rack microphone signals directly The recording can then be played back into the same channels as the original microphones by pressing the Listen to Copied MADI button For more information on the use of this panel please see the chapter on Multiple Console Setups F L E Chapter 4 4 2 Configuring the Console As a digital console the DS 00 is highly configurable allowing a wide range of different bussing formats and channel configurations This section describes how to use the command buttons on the Master Screen to Configure store and recall sessions A Session file contains the following information e Theconsole configuration e TheSnapshots e The Dynamic Automation data ie The current Mix Pass e A list of all the Mix Passes stored during the automation session A Session file therefore represents a complete snapshot of the console and is the simplest way to store and recall a complete system setup 4 2 1 Sessions Menu ss sss sese sss ces ee eee esen eee All of the configuration and file management functions are handled in the Sessions Menu which is accessed by touching the button on the Master Screen 4 2 2 The New Session Panel ccs ccs sees eenn The Main Buss Mode defines the format of the
44. system docu mentation or the warranty and special provisions booklet included in this package APPENDIX WARRANTY AND SPECIAL PROVISIONS LIMITED WARRANTY Embedded System Manufacturer warrants that a the SOFTWARE will perform substantially in accordance with the accompanying written materials for a period of ninety 90 days from the date of receipt Any implied warranties on the SOFTWARE are limited to ninety 90 days Some states jurisdictions do not allow limitations on duration of an implied warranty so the above limitation may not apply to you CUSTOMER REMEDIES Embedded System Manufacturer s and its suppliers entire liability and your exclusive remedy shall be at Embedded System Manufacturer s option either a return of the price paid or b repair or replacement of the SOFTWARE that does not meet the above Limited Warranty and which is returned to Embedded System Manufacturer with a copy of your receipt This Limited Warranty is void if failure of the SOFTWARE has resulted from accident abuse or misapplication Any replacement SOFTWARE will be warranted for the reminder of the original warranty period or thirty 30 days whichever is longer NO OTHER WARRANTIES The Microsoft Software Programs are provided to the end user as is without warranty of any kind either expressed or implied including but not limited to warranties of mechantability and fitness for a particular purpose The entire risk of the quality and performance
45. system will be powered off if an ATX supply is present Relay nn ON or OFF If one or more relay GPO cards are fitted this switches the external relay on or off nn is the relay number 1 to 16 for the first card 17 to 32 for the next etc Bank nn cc This assigns a block of eight input channels to one of the fader banks on the surface nn is the bank number 1 to 6 on the first surface 7 to12 on the second etc and ccis any channel number within a block of eight ie 1 to 8 means the first eight channels 9 to 16 means the next eight etc It is not possible for a bank to start on anything but an eight channel boundary ie 1 9 17 etc E Ies 4 29 Chapter 4 4 9 Transport Controls and Timecode The console s Transport controls allow you to control a recording or playback device directly from the worksurface The exact use of these controls depends on your studio installation but the console supports a wide variety of transport and timecode options gt a transportation 4 9 1 Transport Controls amp Locate Points cesses sese sees eee If the console is configured to output Machine Control signals the Transport buttons can be used to control one or more external devices Youcan also store a Zero position and any number of Locate Points each assignable to one of four locate buttons on the worksurface Once you have stored Zero or Locate points you can move to them simply by pressing the relevant button
46. target machine the Tally status is derived by reading the timecode which is arriving from the device Tallies are particularly important with tape based recorders where it can take a considerable time for the machine to reach a particular Locate point Loop To create a loop hold the loop button down and then press the two locate buttons for the required start and end of the loop 4 9 2 Transport Timecode Configuration Panel 0 You can display this panel by touching the Transport amp Timecode button on the Setup Menu Frame Rate This must be set up for the frame rate used by your other studio equipment You can select from four different basic frame rates with a drop frame option available for 29 97 and 30 fps Timecode Source You can choose the Console option to make the console generate the master timecode for the studio or you can choose to make the console chase timecode which arrives at one of the external sockets SMPTE LTC MIDI MTC or 9 pin These external sockets are located on the console rear panel The 9 pin Eavesdrop option requires a special 9 pin cable See installation manual for details The option is provided for studios where the 9 pin connection runs between two other pieces of equipment for example a video machine and DAW but the console is required to chase this timecode 9 pin does not normally allow more than a single direct connection between two machines but using the Eavesdro
47. the Solo Press option ensures that any soloed channel is assigned automatically 4 12 SOUNMTEACS Chapter 4 4 3 Studio Monitoring The Studio Feeds MUTE i0 The console provides two separate 15 into 2 mixers to facilitate the mixing of sources to be fed to foldback systems or to other destinations These are known as Studio A and B and are accessed with buttons in the Setup Menu Each screen consists of 15 individual channels and a master fader The individual channel s source is selected by pressing the label box above the fader and choosing from the normal list Buss results the output signals from the busses can also be selected as input sources The master fader can then be routed to a pair of outputs by pressing the box above it and selecting from a list in the normal way Each channel also has a Mute button and buttons marked L and R to determine whether the signal source should be routed to the left right or both outputs The master fader is also equipped with a Listen button which will allow you to hear the overall output of the 15 channel mixer through the Control Room Monitors This signal does not use the SOLO buss and when the panel is closed the Listen function is cancelled NB The Studio A and B mixer outputs have physical level and mute controls beneath the Macro buttons on the master worksurface 4 4 Talkback The console worksurface includes a built in talkback microphone situated in the Ma
48. the other members For example if 2 channels are ganged and a fader movement is made on one of them the other will be adjusted in the same way Ganging can apply to any number of channels within one Input Bank 2 3 1 Creating a GANG cisccniesssnorscsnenincasnccusswccouesnaewnautancanteneniocans Channels are added to a gang by holding down the ALL button for a particular set of channels and then touching the fader of each channel that you wish to add If you touch any of these faders a second time whilst still holding the ALL button the whole gang will be cleared Therefore if you wish to remove a member from a gang you must clear the whole gang and start adding members from scratch If you wish to create another new gang you should release the ALL button and then start the process again When a channel is a member of a gang a coloured line will appear at the bottom of the channels screen display Adjacent gangs are assigned different colours NOTE Members of the gang do not have to be in adjacent channels they can be anywhere within the 8 channels in an input bank 2 3 2 Clearing a Gang css sss sss ssss sese sees eee A gang is cleared by holding the ALL button for a particular set of channels and then touching the channel fader of any member of the gang that you wish to clear 2 3 3 How a Gang Works vices ices esse sese s sees eee eenn When channels are added to a gang their present settings are retained until an adjustment
49. to a socket called Line 1 Displaying the Routing Module Touching the bottom of the channel displays the full Routing module which controls the buss routing for the signal To hide the Routing Module touch the same area again The Routing Module allows you to select the console Group and or Direct output socket routing for the channel t mer ga Gi g DOS A 2 13 Chapter 2 Group Routing When the Groups button is selected the on screen group buttons allow you to connect the channel to any number of output group busses mono groups are displayed with a single dot on the buttons groups 1 4 in the diagram below while stereo or surround busses appear with double dots on the buttons groups 5 8 To connect or disconnect the signal simply press the on screen button for the relevant group The number and type of groups depends on the console configuration Direct Outputs You can also choose to route the channel signal directly to any of the console s output sockets by touching the Directs button This shows a display of the console s Output sockets so that you can select any number of sockets for the Direct Out Directs Selector Output Socket Group Selector Output Socket Selector Output Socket Level Switch Level Trim amp Meter Pre Post Fader Switch A Direct Output can operate in one of three modes PRE M Pre Mute and Pre Fader PRE Post Mute and Pre Fader POST Post Mute and Post Fader Its lev
50. various speaker configurations DOS OO 4 23 Chapter 4 The Procedure To use the monitor matrix you need to perform 2 steps 1 Configure the monitors this involves telling the matrix which speakers to use for any given monitoring format and what levels to feed them with Monitors are selected by pressing the CR1 2 or 3 monitor buttons 2 Configure the Sources this involves deciding where tape signals will come from and which buss signals will be brought into the matrix Sources are selected by pressing the Control Room Source buttons T1 to T4 and B1 to B4 As an option you may also set up some switching macros this involves programming the sources to switch on and off automatically when toggle buttons one two or three are pressed These provide the tape direct switching Touching the Monitor Matrix button at the bottom of the master display shows this panel sne aas Tae T S SS Configuring Monitors The column of buttons marked Monitor CR1 CR2 and CR3 are assigned to the Output Switches in the Master Section of the console worksurface and can also be selected on this page When pressed they will switch the control room signal to one of the three sets of monitors They could for example be configured as the stereo main nearfield and TV monitors or possibly as stereo LCRS and 5 1 monitors 4 24 SOUNDTAACS Chapter 4 To Assign a Monitor to a button Press the Monitors Setup button and a new panel will appe
51. way as with Copy Channels See previous section 2 20 SOUNDTARACS p Chapter 3 Chapter 3 Busses and Outputs CJ la LIL 3 1 Chapter 3 3 2 SOUNMTE ACS Chapter 3 3 1 Busses and Outputs 3 1 1 Buss Outputs Display The Main Group and Aux busses are displayed on the Master Screen and the buss levels are controlled by the faders below the screen The exact appearance of the screen depends on the console s current buss configuration but the layout will look something like this Scrolling the Master Screen If the console configuration is using more than the 24 outputs which the screen can display you can scroll the screen down the rows of busses using the Master Screen Scroll on the left hand side of the section On Screen Buss Output Controls Each buss has Mute Solo Insert On Off and Limiter In Out buttons and the screen also displays an Over light for each buss these are described in the next section 3 1 2 Expanding the Buss Output View In the default state shown above the level for each buss is controlled by a single fader whether the buss is mono stereo or surround To see an expanded view of an assigned buss and access additional controls touch the buss meter display System Sessions Layout Automation Snapshots Bus Control Effects Monitor Setup X v Vv Outpu Groups Matrik wv We System Sessions Layout Automation Snapshots Bus Control Effects Monitor Set
52. where the snapshot should be moved to Note If a Relative Snapshot is moved above its own Master Snapshot in the list it will become Relative to the previous Master Snapshot but only when it is fired Therefore the list can be rearranged in any way without changing the data in the snap shots 4 6 8 Renaming a Snapshot sss ssss esse sees sees eee eenn Torename a snapshot touch the Rename button then the name that you wish to change and enter a new name using the keyboard 4 6 9 Renumbering Snapshot sese ssss esse esse sese eee eee ee As snaposhots can be inserted at any point in the list you may find that you wish to renumber part or all of the list Press the Renumber button at the bottom of the snapshots panel and a new panel will open Enter the range that you wish to renumber using the up down arrows or by touching the entry and typing and then enter the steps to renumber to 1 00 is the default value Then press the Renumber button and the list will be adjusted accordingly 4 6 10 Deleting a SnapShot esse ess sees eee esse eee eee To delete a snapshot touch the Delete button and then the Snapshot that you wish to delete You will then be required to confirm the deletion Note You cannot delete the first Master Snapshot in the list if it has Relative Snapshots below it 4 6 11 Snapshot Undo sss sss ses sese eee eee If the button labelled Enable Undo is pressed an undo button will appear and the worksurface undo
53. 0 bottom to 255 top FaderRelayUp n where n is number in the range 0 bottom to 255 top This function can be used with either PFL or Dual PFL AFL Solo Modes NOTE If Backstop PFL is switched on the Auto PFL thresholds are automatically moved above the Backstop PFL threshold PFL backstop BACKSTOP tinal amp lutoPFLl thresholds PE Mo BACKSTOP relay amp autoPFL thresholds backstop 0 6 6 9 Solo Modes css sss sss sese PFL Mono pre fader listen mode which only uses one reserved buss AFL Monitoring the signal at post fader level with full stereo or surround panning which uses the same number of busses as the Main buss Dual PFL AFL PFL or AFL solo mode is determined by the position of the fader PFL when the fader is down and AFL otherwise This mode uses a single buss plus the same number of busses as the Main buss Destructive In Place This uses the main busses instead of the solo busses and can therefore function as a SIP without using additional buss resources Single Single mode means that only one channel can be soloed at a time If single is not selected any number of channels can be soloed simultaneously PFL Output This allows you to select dedicated output sockets for the PFL signals Touch the required Output Signal Group button and then the output that you require from that group Solo Trim Level The Solo Level may be adjusted by altering the dB value in the Trim Level box If the worksurface
54. 17 4 23 Monitoring Control Room 4 23 Monitors Setup 1 18 4 25 Mono Control Room Monitor 4 23 Move Channels 2 19 Move Intervening 2 19 Moving a Snapshot 4 18 MS Decode 2 6 MTC 4 31 N Naming Control Groups 4 15 NetTracs 4 7 New Project 4 7 New Session 1 9 4 6 4 7 Node 4 28 Nudge Back Forward 5 16 O Offset 5 4 On Screen Touch Keyboard 4 4 Only Plays 5 4 Optocore 4 34 Other Effects 6 3 Output Channel Routing 3 6 Output Insert 3 7 6 5 Output Normalising 6 6 Output Processing FX5 and FX6 6 3 Over 3 3 Overview Setup 2 18 Overwrite 5 5 P Pan 2 12 Pan Aux Module 2 11 Paste 5 15 Paste Clip 5 5 Peak Hold 4 12 PFL 4 11 6 15 PFL Output 4 11 6 15 Phantom Power 2 6 Phase 2 7 Play Update Mode 5 2 Play mode 5 4 Post Fader Option 4 15 PPM Default 4 12 Preset Pan Positions 2 12 Preset Selector 2 9 Presets 4 10 Preview 4 19 Program Change 4 22 5 8 Q Quit To Windows 4 4 R Real Time Automation 5 2 Real Time Automation Modes 5 2 Receive Only 1 8 Record and Play Buttons 5 9 Record Mode 5 2 Redundant Mirror Console A 7 A 9 A 10 A 13 Redundant Optical Loop A 7 Relative Snapshot 4 16 Relative Trim 5 4 Rename 4 7 Rename File 4 7 Renaming a Snapshot 4 18 Replacing a Snapshot 4 17 Return 2 15 Reverb FX1 6 3 Reverse Play 4 30 Rounded to whole dBs 4 4 Route to a Direct Output 1 12 Route to a Group 1 11 Routing 2 13 Routing Busses To Outputs 1 13 RTZ To Re
55. 5 15 Chapter 5 l G Nudge Back Forward These buttons move the selected events back or forward in time by a quarter frame If you hold down the lt Shift gt key while clicking these buttons the selected events are nudged by a whole frame and if you hold down the lt Ctrl gt key the events are nudged by one second int Snap to Timeline This button is a toggle and it allows you to use the Timeline for precise positioning of selected events If you are positioning a selected group of events switching on the Snap button allows you to align the left or right edge of the selected group precisely with the Timeline just by moving the selection close to the Timeline position Undo d This button allows you to cancel the last edit you did Delete Nudge etc and restores the mix to the same state it was in before the edit There is only one level of undo 5 2 9 The Event Tool css sss escena aaeeea You can use these tools to insert new events into the mix Insert Switches gt To Insert a new switch On or Off event click this button then click on the channel and the timecode at which you want to insert The tool will toggle the status of the event at the point you choose See the Switch and Level Selectors section above for a listing of which events can be inserted using this tool Fade Out F To fade a channel out gradually click this button Then place the pointer at the position where you want the Fade Out to
56. 9 passes To revert to any of the previous passes select the mix from the list and press Recall Be very careful as this function will delete the current pass unless you have already Saved it If you are certain that you will not want to return to a mix press Delete Mix and a small panel will appear allowing you to remove it from the Hard Disk Press Select Range choose the relevant mixes from the list and then press delete or press Delete All and then delete 4 2 9 Autosave MIX recovery cesses ese essen enen ee In addition to the passes you store the console automatically keeps a version of the current session in a file called _session ses in the ds00 folder This is updated at the end of every pass or every 10 minutes according to a parameter in system options if you are not doing mix passes This file is to guard against power failure In normal operation if you try to shut the session down without saving you will be prompted with the warning that there is some unsaved snapshot or mix data You then have an opportunity to save your session If the power fails and you have not had this chance the system will detect the autosave session and give you the following prompt as it restarts nestart amp Recovery Return to This allows the options of 1 Rebooting the audio engine or worksurface 2 Loading from the recovery session file 3 Loading from the startup session file 4 Not loading any file and creating a d
57. Channel Banks fader bank overview 01 08 a J Asson Asin 2 09 16 ik 17 24 25 32 Mowe 9 Channels 57 64 eat Ea _ Clear Assignment _ Channels Vows ye 3 J ji amp a a J a J Duplicate Press a fader bank button to assign to Channel Lv x Channel ONET EN 2 4 4 Move Channels cccccccscececccccsccccecscnceccccaeanseceeaeeeaeeaueecearanaes Touching the Move Channels button in the Layout menu opens the Move Input Channels panel which allows a single channel or a range of channels to be moved Move Input Channels Touch Fader to define i moving through to position of destination of first channel 17 Move Intervening Swap Channels nil Gi oes or shuffle channels Bea ee Touching a single channel allows it to be shuffled left or right with the arrows at the bottom of the panel Both halves of a stereo linked pair are automatically selected together Shuffling will automatically skip past stereo linked pairs when moving the selected channels to their new positions Touching two channels or a gang defines a range to be moved The shuffle arrows now operate on this range of channels and the double arrows move by the number of channels in the range Touching a third channel defines the left of the destination range and enables the Move Intervening and Swap Channels buttons A move or a swap cannot take place if a stereo pair would be split as a
58. Control Group are in different automation modes because they have been changed on the channels themselves the Control Group record and play buttons will override their previous settings and force them into the mode selected with the Control Group master 5 2 The Automation Mix Editor Once you have recorded some automation events using the on line automation modes you can view and edit these events using the Automation Mix Editor This is displayed on the Master screen when you press the Automation Mix Editor button zr E ol gt i i t ial Ail oc RSE bE Cad Touch Fad live Ea lanla leal Fan mur GR ee pa write to START 00 00 00 00 T ies a0 END 00 00 00 00 Capture s i a _ E z lt m Rug spom aN zoomom REN Spro P S The Automation Editor initially shows a line for each section of the console s automation Around the edge of the automation screen are a number of buttons for controlling the display and for editing the recorded events KA Ker TRS The channels themselves are listed according to their type at the left side of the screen initially there are entries for the Snapshots Inputs Auxiliary Group and Main outputs To see an individual channel from any of these sections click the drop down button to the left of the section name Drop Down button Status Indicators Channel Status Indicators To the right of any channel or section name are three status indicators indicating
59. D 20 OPTO B FOH MIRROR OR RE Sync OPTO FOH MAIN Sync OPTO LOCAL RACK 6 12 SGOUNOTeE ACS p AppendixA A 3 PC Remote Control If the console software is run on a standalone PC or laptop sessions may be prepared off line or the PC can be used to remote control a console Input channel windows are run in separate moveable windows for easier access on smaller screens The Overview Screen and a Bank Switches window are also displayed Channel and Master LCD buttons appear at the bottom of each screen A PC can also be used as a Remote Control device for the console and this is set up in a similar way to a Mirror console A 3 1 Remote PC Setup sss sese eee eee eee DiGiCo recommend that the Remote PC is running under Windows ME or XP and that the operator has sufficient knowledge of the operating system to change IP addresses and set up a standard network connection Note With Windows XP the built in Firewall should be disabled as this may cause operational problems 1 An Ethernet Crossover cable not a standard CAT5 cable should be connected between the Main console and the Remote PC or both devices should be connected to an Ethernet switch if there is a third device in the system eg a Mirror console or Redundant Engine 2 Set the Remote PC s IP address to 192 168 2 xxx where xxx is anumber between 0 and 255 that is unique within the system The IP address can be checked by opening the System Service Configure Hardware panel p
60. E 6 Same setup as a console anda L Redundant Engine Z ETHERNET CROSSOVER OPTO B ID 20 OPTOA ID 21 FOH MAIN Sync OPTO pad FOH MIRROR OR RE sync OPTO Appendix A Having ensured that the consoles are identical in both hardware and software run the DiGiConfig program in the System Service Configure Hardware menu D5 software will automatically close to enable configuration changes Select all the consoles in the rig eg FOH Main and FOH Mirror and then select the console that you are configuring by pressing the THIS ONE button You can check the configuration by pressing the EDIT Details Button but clicking OK will confirm the setup and return to D5 software Repeat this process for the other console Dig ona v LT Console Type DS Live Fle CADSADG INI Console Confiquration gi x EE rect each button thet aber to the cured carla retest sel tlet cares cf Hern at Dr corey FRONT OF HOUSE caai good the meh FOH Hair a me mene EAE on Shandatone PE FOH Console Details Li 95 Console Configuration Console Type DS Live File C D5 D5 1NI Hardware Expecte Locally Installed IV Audio Engine Slave cards E MADI cards 23 Input surfaces gH GPI port jo Relay port jo L IV Timecode V WorkSurface paj GPI cards pal Relay cards Optocor yee Al e E th Connected MIMI in fon aly d Copy to MADI T lF lF lF zz Console Net
61. EQ response graph on the screen NOTE If the expanded view does not appear when a control is adjusted open the System Options panel and press the Automatically expand EQ view when adjusted button Filter Centre Frequencies Response Graph a PRESETS Reset EQ Preset Selector Parametric 1 Yellow Curve Select for Parametric 1 Parametric 2 Blue EQ In Out Parametric 3 Green Curve Select for Parametric 4 Parametric 4 Red equalisation Lopass In Out Hipass Lopass Filters 20 g mOn 4 ZA Hipass In Ou Note The four band EQ and each of the filters have their own in out switches The type of filter used by bands one and four can be changed by successive presses of the Curve Select button for that band There are three possible settings for each band RR T The dynamics are accessed by touching the words Comp or Gate just below the EQ graph on screen to open the dynamics panel The worksurface controls beneath the screen control the various parameters touching the panel again will close it Dedicated Threshold controls and In Out switches can be found on the right hand side of the input section worksurface These can control the Assigned channel s dynamics whether the on screen dynamics panel is open or not DYNAMICS Compressor Controls Gate Controls dut dynamics a L la a T 1 15 Chapter 1 1 3 10 Auxiliaries The auxiliaries are accessed by touching the required on sc
62. HANNELS ere s S S 25 25 1 SUB CHANNEL A ia 3 oe ETTR UT _ 71 _ 71 40 dn S I Bo ER amp SAFE E l i LEER LR ad Sub Channel Dynamics TC Large hall TY Studio delay Output 5 1 master 2 04 dE 30 1 INPUT NORMAL OUTPUT MORTAL HAIN CHANNEL Z SUE CHANNEL Ea Ea 7 Sub Channel EQ Output pass SES OUTPUTS 5 1 master 71 4 Hz RI 200 S 1 02 kHz 5 02 RHE HES SI TTT S ne S 2 LOSHELE C S L LOSHELF 3 INPUT NORMAL g L F EE C pmm 10 10 OUTPUT NORMAL 8 Je D lac el S 15 15 MAIN CHANNELS z 20 20 mi ea 0 00 AE 0 00 AE 0 00 S fe S 0 00 E SUB CHANNEL S i J 20 30 6 dL or 20100 ik 20k Bu cite a SAFE LCR Lena a Chapter 6 Graphic EQ The controls for the 12 Graphic EQs are as follows Click here to link EQs in stereo pairs Reset Flat same INPUT OUTPUT EESE Hl T l l T 7 TT E E E E E E E E E amp Click here to select Processing In Out Touch faders on screen which Graphic EQ Trim Control to assign control to to adjust 1 of 6 worksurface master faders If a stereo source is being processed the EQs can be linked in pairs 1 and 2 3 and 4 5 and 6 When connecting channels or busses to the Graphic EQs each unit will appear in the Effects socket group as a different number If FX 5 is configured as a Graphic EQ the six units are FX 5 1 FX 5 2 FX 5 3 FX 5 4 FX 5 5 and FX 5 6 If FX 6 is configured as a Graphic EQ the six units are FX 6 1 FX 6
63. MUNDTRACS Chapter 2 ee ae In this configuration the filters are used in the side chain of the gate to provide frequency conscious gating ee Eth In this configuration the filtered signal feeds the input of the gate while other frequencies bypass the gate This allows for a specific band of frequency to be gated and then mixed back into the remaining band Af fleet ns In this configuration the filtered signal feeds the input of the compressor while other frequencies bypass the compressor This allows for a specific band of frequency to be compressed and then mixed back into the remaining band Dynamics Presets Touching the Dynamics module s Presets button displays a Selector panel for the Dynamics presets The panel works in exactly the same way as the Channel Preset Selector described earlier in this section See Section 2 2 1 although a Dynamics preset only contains settings for the Dynamics controls not for the whole channel Dynamics Linking The Gate and Compressor modules may be linked in adjacent channels to produce a stereo mixed control voltage ensuring both channels respond identically Press the Stereo Link switch on the right hand side of the Dynamics panel Both sides of the pair are switched simultaneously Note The switches are not included in snapshots or presets In a stereo channel the stereo link switch is pressed by default 2 2 4 Pan AUX Module ccccececcccceccecececcceceeecacaceeneeeen
64. Reverse Play If you are using 9 Pin Machine control holding the play button and pressing rewind will allow play in reverse Deferred Play If the transport is locating a point and the play button is pressed play will not occur until the locate point is reached Storing a Locate or Zero Point To store a particular point in the Timecode as a Locate or Zero point run the timecode until the display shows the point you want to store then hold down the Record transport button and press one of the Locate or Zero buttons Alternatively if the Hold To Record button in the Locate Points panel is pressed simply holding one of the Locate buttons for 2 seconds will store the position when the button was first pressed Locate Points Button An alternative method of storing and locating timecode positions is to touch the Locate Points button in the Automation menu which will show the following display Any locate points which have been stored using the above method will already appear on the screen but new points can also be stored directly onto the list Haki to Record To store a new locate point run the timecode to the point you want to store touch the Capture button and type a name in the highlighted entry Alternatively touch the New button and a panel will appear which allows you to touch a number and type a value or increase and decrease values with up and down arrows Touching one of the listed locate points followed by the Locate butto
65. S ps Chapter 1 Input Gain Screen Scroll Master Screen System Sessions Layout X over RIS LIMITA LIMITAR R D e L N Z m m L30 AFL dE AFL S cs eer L e AFL Phase Aux Send amp Compressor Controls Aux On Off amp Compressor Controls Aux Send amp Gate Controls Aux On Off amp Gate Controls Solo Mute Channel Fader Automation Snapshots Bus Control 7 Outputs Groups a L la a T a a E Input Module EQ Module Dynamics Module Aux Pan Module Routing Module Monitor Setup Matrix rd LIMITR d p Ra over LIMITA ri l aer LIMITA C4 1 7 Chapter 1 1 3 1 Consoles and Racks css esec eee eee If the console is the only one in the system the Consoles amp Racks panel will not open automatically and the console will be fully connected to the racks with its Master Audio Outputs Active by default This panel can also be opened from the System menu If the system has been defined as consisting of more than one device the Consoles amp Racks panel will automatically open on boot up or load session If the crossed Ethernet cable or Ethernet switch has been connected then the Ethernet Connected line should show a green OK light and not a red cross The initial state will have no connection between the devices Independent or the racks Isolated and the panel appears in order to prompt the operator to make the necessary con
66. SOUNDTRACS La CDC Operation Manual Issue B January 2005 fi T T SMUNDTRACS Copyright 2005 Digico UK Ltd All rights reserved No part of this publication may be reproduced transmitted transcribed stored in a retrieval system or translated into any language in any form by any means without the written permission of Digico UK Ltd Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor Digico UK Ltd shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual All repair and service of the DOO product should be undertaken by Digico UK Ltd or its authorised agents Digico UK Ltd cannot accept any liability whatsoever for any loss or damage caused by service maintenance or repair by unauthorised personnel Software License Notice Your license agreement with Digico UK Ltd which is included with the DOO product specifies the permitted and prohibited uses of the product Any unauthorised duplication or use of Digico UK Ltd software in whole or in part in print or in any other storage and retrieval system is prohibited Licenses and Trademarks The DOO logo and DOO name are trademarks and Digico UK Ltd and the Digico UK Ltd logo are registered trademarks of Digico UK Ltd Microsoft is a registered trademark and Windows is a trademark of Microsoft Corp Digico UK Ltd Unit 10
67. Ts were connected to the Monitor console then the console could take control of the racks analogue gains when the Full Connect procedure took place This is potentially confusing as in this situation the FOH console would no longer have control of the racks analogue gains as only one console can be the master for the gains when connecting via MADI _ STAGE RACKS FOH amp MONITORS our our USING MADI ONLY ONLY MAIN LOCAL RACK S S S 0 E A N PORT 3 ooo T alb PORT 1 WORD CLOCK T ooo 0 oo0 MONITORS Sync Word Clock ooo L 1 ooo 0 o00 L 1 Uni Directional Gain Tracking FOH has control of the Analogue Gains and Monitors can track this Sync Master LOCAL RACK 6 4 SOUNDTRACS AppendixA A 1 1 Gain Tracking Settings css s esse esse sese sees e esse enen eee With the Optocore connection Gain Tracking can be bidirectional If either console adjusts the analogue gain the other console can compensate for that change by applying an opposite digital trim Each Input Channel has a Track On Off switch next to the Digital Trim control This is controlled by touching the screen in the area of the switch and using the worksurface phase button beneath the gain control If it is switched off the Analogue Gain and Digital Trim are completely independent but if it is switched on for both consoles any change in the Analogue Gain by either user is compensated by an opposite Digital Tri
68. aa ERE HERR ER Touching the Mute button on the screen or the worksurface cuts the output signal from the relevant buss 3 2 6 Meters ccccccceccceccecsccececeneaceceaneceacanenseneneaneeaneneaeeneneeneneuneneanes The Meters display the signal level and indicate a peak level CJ la LIL 3 5 Chapter 3 3 2 7 Output Channel Routing ss sssss sss esse sss sees sese sees eee The Buss Routing section indicates which output sockets the channel is currently connected to To alter this routing touch the Routing section you can then select a socket or a number of sockets to which the buss signal s are routed NOTE If an output socket button is disabled Text in white and is touched a message temporarily pops up explaining why Note that with Stereo or Surround busses you cannot route the buss signals separately by assigning the socket for the left most buss channel you also assign the next socket s in the socket Group to the remaining buss signal s The illustration above shows a stereo group so choosing socket Line 1 would assign the left buss signal to socket Line 1 and the right buss signal to socket Line 2 NOTE The order of signals output from a surround stem can be adjusted by editing an INI file Please refer to Digico support for further information 3 2 8 Stem Signal Order css ssssssssssssssssseee essen eenn enen The sequence of signals for surround stem outputs groups and main may be specified in
69. accessed by scrolling down past the pan The lower rotary serves as a balance control between the relative levels of the stereo pair The surround panner for stereo inputs simultaneously controls the position of both left and right signals The joystick and wheel directly control the position of the left signal and the right signal is automatically mirrored on the left right axis A red indicator shows the position of the right signal This provides some control of width The signals can also be crossed to reverse the stereo image When panned to centre left and right will be mono Front back Sub and Divergence are always identical for both left and right signals Divergence and Sub The Div and Sub controls can be adjusted using the normal Pan Aux rotaries below the screen use the Screen Scroll buttons to move the highlight down from the Pan control to highlight Div and Sub The Divergence control limits the width effect of the Pan control when sending to Surround busses 2 12 SOUNDTAACS Chapter 2 A Divergence setting of zero Full left allows full LCR panning between left and right busses Zero Divergence Setting the rotary full right will remove the signal from the centre buss and only allow the signal to feed the left and right busses Negative Divergence The Sub control is only present on 5 1 console configurations It is a trim control with unity gain at the centre position for sending the signal to the Sub chann
70. always saved automatically when the console is shut down 4 10 SOUNOTE ACS Chapter 4 4 2 11 Solo Options The Solo Options panel can be accessed at any time to change the solo function PFL Mono pre fader listen mode which only uses one reserved buss AFL Monitoring the signal at post fader level with full stereo or surround panning which uses the same number of busses as the Main stem Destructive In Place If there are insufficient unused busses to create a normal Solo In Place function there is an option to use Destructive In Place This uses the main busses instead of the solo busses and can therefore function as a SIP without using additional buss resources Solo Buttons You can also select Latching or Non Latching mode for the buttons in non Latching mode the Solo buttons only operate as long as they are held down Single mode means that only one channel can be soloed ata time If single is not selected any number of channels can be soloed simultaneously PFL Output This allows you to select a dedicated output socket for the PFL signal If nothing is selected here the PFL signal will be sent to the Control Room Monitors in the normal way Solo Trim Level The Solo Level may be adjusted by altering the dB value in the Trim Level box If the worksurface Solo Trim control is adjusted this panel will automatically appear and the Trim Level value will change to reflect any adjustment Solo Safe Solo safe may be
71. an is shown as follows The line represents the movement of the pan with time As it goes towards the top the pan is moving to the left Surround Pan Events In Surround consoles there are two dimensions of motion for the pan position The first line is identical to stereo panning except that obviously when the line is in the centre of the display the signal is only going to the C bus The second line shows the Front Back positioning To duplicate the panning of one channel on another you should copy both lines together Sub and Divergence Events These events are included in the Pan drop down menu see diagram above Sub and Divergence levels are shown in the normal way but the Sub Mode is indicated as a switch in the Sub Level line where different colours represent each mode Black Sub Off LCRSS on Dim magenta Sub Only LCRSS off Bright magenta All on LCRSSB on Aux Send Events Aux sends and their mutes are automatable in the same way as channel faders and mutes EQ Events The three parameters for all 4 bands of the EQ are shown under this drop down display with the HF at the top 20 600Hz HP The frequency range of each band is indicated The Gain of the HF is followed by the words in out This line indicates the automation of the entire EQ circuit being switched in and out Note that for some filter curve types the gain and Q data lines will have no effect They are stored nevertheless in case the band
72. ana Surface Timecode Racks Hardware Windows Diagnostics i i ry ened ao i a i AFL AFL i P i p f j m ecillator fad Oe KR KR P PE LIMITR m LIMITAR Consoles amp Racks Ha E fe 4 S Quit To Windows Command In the Service menu this button will close the DS 00 program but will remain in a Windows environment It is unlikely that the user will need this option in normal operation System Options Save Session Time Setting allows the user to set how regularly the console will auto save its settings The session file which is saved will be accessed if the session is terminated abnormally and the option to reload the session is given when the console software is restarted The default time period is 10 minutes Control Room Dim Level allows the adjustment of the attenuation applied to the console s speaker outputs when the Dim button is pressed System Options Save session automatically every Z 10 a minutes 0 no automatic save m Control Room Dim Level 20 dB Use on screen touch keyboard Alphanumeric _ Numeric ony Show system status indicators Display system alerts Show aux amp fader dB pop up readouts Round to whole dBs Automatically expand EQ view when adjusted J Close Use On Screen Touch Keyboard activates a touch sensitive keyboard which will automatically appear on screen when any label button Channel name control group etc is pressed While editing numeric o
73. anges in their snapshots In this situation snapshots must be stored at the same time on both consoles so that the analogue gain changes on the controlling console will be reflected in a stored digital trim level on the other console which is recalled with the firing of the snapshot The console that is not controlling analogue gains should normally have Gain Tracking switched on to enable its digital trims to compen sate for the other console s analogue gain changes This system will work correctly but if the digital trims are subsequently changed with anin dependent snapshot then the automatic adjustment may be overridden and unanticipated overall levels may result Suggested methods 1 Do not change analogue gains with snapshots from either console This is the simplest method and involves removing Input Routing Scope from all console snapshots Both consoles can be in Full Connect so that either operator can adjust analogue gains manually Gain Tracking can be switched on for both consoles to ensure that neither is affected by manual gain changes that are made by the other Digital trim changes can be made manually or in snapshots on both consoles as these changes are completely independent of the other console and cannot affect it in any way Note The drawback of this method is that by removing Input Routing Scope from all console snapshots the input socket selection cannot be changed with snapshots 2 Only change analogue gains with
74. ape all Source Select Switches Monitor Select Switches ETET Toggle Sources Buttons 4 7 1 Control ROOM Level css sss sese neeaaea These rotaries simply control the volume of the Control Room monitor signal Please note If CAL is activated in the Control Room Panel the Control Room rotary will have no effect on the monitor volume a e AA o TTT When any channel on the console is Soloed the Solo light in the Master section is lit You can then use the Clear button to clear all Solo settings The Solo trim controls the output level of the Solo signal and if it is adjusted the Solo Configuration Panel will appear and reflect any adjustment made Solo Modes and Configuration See Solo Options in Section 4 2 4 7 3 Mono and DIM cc ccc sss ss ssc sss css ss nesne ennenen The Mono button sends a mono down mix of the Control Room source signals to the Left and Right Control Room Monitor outputs The Dim button reduces the monitor signal level the default value for this reduction is 20dB The Dim level is set in the System Options menu Please note If CAL is activated in the Control Room Panel this function is disabled 4 7 4 Monitor CR 1 2 and 3 Output Switches cee They operate as monitor selectors routing the Control Room signal to three different sets of monitors A monitor can be defined in the Control Room panel 4 7 5 Control Room Source Buttons css ss sss sees eee eanne The
75. ar which allows you to select a monitor setup from the user defined list Touch one of the Monitor CR1 2 or 3 buttons and then touch one of the entries on the list to assign it to the button ae i es n a A a EAN EEEN ere ga Is Err T To Edit or Create a Monitor Touch the button labelled Edit Monitors in the Assign Control Room Monitors panel You may select an existing monitor in the column on the left hand side or define a new one by pressing one of the buttons in the column marked New Touching an existing monitor button a second time will unassign it The Delete button will remove the selected monitor from the list A new monitor can be named in the Label box and then each signal of the Control Room Output can be sent to a specific speaker by pressing one of the Select Signal buttons and choosing a speaker from the Select Speaker column The list of speakers is defined in the Sockets File at installation There is also a Trim control at the bottom of the column to adjust the output level to each speaker Select Insert The Select Insert box allows you to define send and return sockets for patching processors into your monitoring system It works in the same way as the channel insert settings Note Unlike inputs monitors can share an insert Select a send socket which corresponds to your processor s input and a return from the output of the processor This insert could be used to connect a Dolby encoder de
76. are not active touch Setup Service Configure Hardware button to open the DiGiConfig program select the console that you want to configure by pressing the relevant This button then tick the relevant boxes at the top of the panel and press OK The optional effects section provides up to 6 different effects modules each FX module can be made Safe from Snapshots by pressing the on screen Safe button in the relevant FX parameters panel FX1 is always a stereo reverb unit and is the only one that can use the top line of reverb presets FX2 3 and 4 can be configured as reverbs or any of a selection of other effects FX5 and 6 can function as effects modules but can also provide Output Processing on stereo LCRS or 5 1 output busses or Graphic EQ Note Only one Delay preset can be used between the 6 FX slots For example if a delay effect is selected for FX2 then all delay presets will become unavailable for the other FX slots 6 1 1 Selecting Effects cssssss sss sssss essen eenn ennenen ennenen Touching the Configure Effects button in the Setup menu on the Master Screen opens the following panel LOnigure Etects Clear hall Warr hall Bright hall Stage hall Ambient hall Live hall Soft hall vogal hall Small hall Silky plate Bright plate Hard plate Arnbient plate Perc plate Wood room Clear Foor Percussion room Rehearsal room Hard room Lounge Kitchen Bathroom Corridar Car Boardroom Factory Subway Courtyard Forest To
77. ase Signal Label Stereo Channel Mode Selector y Signal Group Selector Signal Selector Phantom Power Preset Selector Mic i p only Signal Delay The Input Module contains the following controls Channel Label To alter the Label touch the Label area then type the new label on the keyboard Labels can be up to 31 characters long but only the start of the label will be displayed depending on the character width Signal Group The input sockets are arranged into named Groups To display the signal groups touch the Signal Group Selector area as shown above You can then touch the button for the group you want Misc Signal Group The Misc group contains the console s internal signal sources and sockets including signals from the worksurface and rear Talkback microphones and the internal Noise and Tone generators The original talkback sources the unprocessed microphone inputs are labelled Talk Mic L Top amp R Rear The post processing results from the talkback input channels are labelled Talkback A amp B Select Signal Signal in Group To select a source touch the button for the signal you want to connect to the channel If there are more than five channels in the group you may need to use the scroll buttons top and bottom to display the button for the signal you want F L la T T 2 5 Chapter 2 Stereo Channel Mode Selector S indicates stereo Stereo Channel Mode S
78. at the top of the screen How can change the Pre Post setting for a single auxiliary send To change this setting use the button beneath the auxiliary send control but make sure that the send is set to minimum Using the same button with the send turned up will switch the auxiliary on and off cannot see the Width control for a stereo channel on the screen Use the Screen Scroll buttons to move the highlighted line down The Width control is in the last position after the Pan control want to trigger a noise gate with an external source but when press the Key button the key source panel doesn t appear Check that you haven t selected a dynamics configuration which includes filters The external trigger is only available for the first dynamics configuration where the filters are not used The audio is sometimes interrupted when use the channel EQ Switching the Channel LPF or HPF Filters in will briefly interrupt the audio in that channel 7 4 SOUNDTRACS AppendixA Appendix A Multiple Console Setups F H T E Appendix A 6 2 SOUNOTeAcS AppendixA The following information relates to any D Series console which is used in a multiple console configuration The examples refer to a DiGiCo D5 A 1 FOH and Monitors Setup Front of House and Monitor consoles with 1 local rack each may independently share input signals from up to 3 stage racks and have individual control of input gains with the use of Ga
79. ation MIDI GPI GPO card it can also have 2 more MIDI ports A amp B Each card provides 16 extra MIDI channels A1 to A16 on the first card and B1 to B16 on the second card The port letter may be prefixed on any line of the MIDI Patches Editor before the MIDI channel number separated by spaces If the port letter is omitted Port T is assumed Touching the MIDI Patch button in the Setup menu opens the MIDI Patches panel which allows any MIDI program change controller change note on or off message to be recorded and played back manually or against timecode MIDI Patches O01 Ch O01 Program 60 Type MIDI messages in the Format ch H note velocity ch H note velocity ch C control value 1 16 Dtr Der ch P program 1 16 1 128 automation Rec Play sequence file This panel works in a very similar way to the main snapshot system and an indicator on the MIDI panel shows when any MIDI data is being received When the Capture button is pressed a text panel is displayed and any incoming MIDI controller or program change information is recorded There is also a list of required syntax for entering the text manually The captured text may be edited or new text entered into an existing patch by touching the Edit button and typing This text is then compiled into the required stream of MIDI data when OK is pressed Errors are reported at this stage The correct format for the messages is as follows Note On The MIDI Port Numb
80. ation database You will see these events on the timeline and can then edit them on a channel by channel basis Remember that automation modes can be set on a channel and on an individual parameter basis as described in the third example above For example itis possible to set all a channel s controls except faders to Update and then control the channel fader by firing a snapshot Even a single band of a particular EQ section could be taken out of dynamic automation and put under snapshot control The only restriction is that controls are not automatically switched from dynamic to snapshot automation so its best to decide at the beginning of the mix which controls will be automated by which technique Then if you need to add a snapshot to an EQ which is basically dynamically automated this is still possible using the Channel Controls in Record Snapshots isolated combination described above 5 1 11 MIDI Snapshots sssss sss s cesses see ee eee eee Touching the MIDI Snapshots button in the Automation menu opens the MIDI Snapshots panel which allows any MIDI program change or controller change message to be recorded and played back manually or against timecode MIDI Snapshots Capture Edit q Rename Delete X This panel is implemented just like existing controller snapshots MIDI is received and transmitted via the timecode card An indicator on the MIDI panel shows when any MIDI data is being received When the Captu
81. button will be enabled When a snapshot is fired a separate hidden snapshot of the complete console is stored before the fired snapshot has its effect If the Undo button is pressed the hidden snapshot is fired using the same scope as the previously fired snapshot to undo its effect This sampling before firing can take up to two frames to store depending on console configuration and should therefore be switched off in situations where timing is important eg when synchronising snapshots to MIDI Note The Undo remains possible throughout any subsequent operation changes to controllers will be undone along with the last fired snapshot if the Undo button is pressed unless it is switched off or the console structure changes 4 18 SOUNMTEACS Chapter 4 4 6 12 The Snapshot Scope Editor css s essen e SCOPE Snapshots Controllers Fotin Misc Channels All channels 01 Linel oe 02 04 Insert Relative a H Input fo CG Faders H Timing Enable Undo 2 fr delay Undo Replace a A Curr control by duration ea control by S automation Piore Fec AUKES out Locate bo Sah aa ER i Ue Dynamics Panning 05 UG aal Mute Fader Bussing Dur ation E Play From Play bo Groups Crossfade SL midi Renumber E E Fire Frew Fire eut Delete Touch ele mete 1 to Fire x Pressing the Scope button expands the panel to display and edit the
82. ch the name of the preset you want to overwrite To Rename an existing preset without changing its settings touch the Rename button then touch the preset you want to rename and type the newname To Delete a preset touch the Delete button then touch the name of the preset you want to delete The Default button forces all controls on the channel to their default settings This will normally mean flat EQ inactive dynamics central pan Aux sends at zero and fader at OdB The Close button removes the Preset Selector from the screen but has no direct effect on the channel settings Gain Phase and Delay When the Input module is expanded the rotaries and switches in the Lower Row of input bank controls immediately below the channel display control the Delay settings for mono channels or Input Balance and Delay for stereo channels In addition Gain and Phase adjustmentis always available using the controls above the Inputs Screen The Input Gain control provides a basic level trim If the input source is an analogue input socket the Gain setting controls the analogue amplifier which sets the incoming signal level before conversion to digital The Phase switch allows phase settings On mono or stereo channels you can use the Delay control to delay the input signal by up to 240ms There is also a Delay On Off switch Chapter 2 2 2 2 Equaliser Module sssss esse ssssssssse seene eee The EQ module comprises four user configu
83. ckArm Where is the track number 1 48 Then ensure that Machine Control Output Enable 9 Pin Direct is selected in the Timecode amp Transport panel If it is not enabled the Master Arm button will not function When Track Arming has been correctly configured proceed as follows 1 Press the Master Track Arm button on the console worksurface 2 Use the Channel Automation Record button as a Track Arming button for the channel whose Direct Output is connected to the required recorder track or Use the Group Automation Record button as a Track Arming button for the output channel which is connected to the required recorder track Please Note Automation record buttons on channels which are not configured for Track Arming will continue to function in the normal way when Master Track Arm is pressed 4 32 SOUNMTEACS Chapter 4 4 10 Audio Synchronisation To ensure glitch free audio digital signals must be correctly synchronised using a Word Clock or Digital Sync The DS 00 console can act as Master generating the word clock for other digital units in the studio or it can slave to an external digital sync input External sync can be derived either from a dedicated sync unit or from an incoming digital audio signal connected via an AES EBU SP DIF or MADI signal input The digital sync source will usually be set up when the console is installed but it can be altered using the Audio Sync button in the Setup Menu Pressing t
84. coder to provide a switchable pre post monitoring facility See Source Switch Macros Calibrate The buttons marked CAL1 and CAL2 allow you to set your monitoring levels to preset values typically 85dB SPL and 87dB SPL and when pressed the console s Control Room level rotary pot is bypassed To define the calibrate levels press Cal Setup and set appropriate labels and levels for CAL 1 and 2 When you have completed your monitor setup you can return to the Assign Control Room Monitors panel by pressing OK a a 4 25 Chapter 4 Configuring Sources The 2 rows of buttons marked T1 to T4 and B1 to B4 are assigned to the Control Room Source buttons in the Master Section of the console worksurface Each of these buttons can represent a set of signals which will be a potential feed to the Control Room Monitors They will typically include different sets of Mono Stereo LCRS 5 1 and 7 1 busses and the returns from your recorders el ke ES In the illustration sources T1 T2 and T3 are defined as Tape Music Tape Dialogue and Tape FX whilst B1 B2 and B3 are Console Music Dialogue and Effects With this configuration you could press any combination of source buttons T1 T2 and T3 to monitor the different elements of your mix returning from tape and similarly press any combination of buttons B1 B2 and B3 to monitor the buss outputs which are feeding those tape tracks If required you could also
85. cript fief pa Fader Start threshold 6 hysteresis 2 aes E elt siesta ela te l i System Access Surround Signal Orde i System Access Surround Signal Orde Connected IR i lv E ID 120 h Password LERSILCRS Connected v J v E ID 122 h Password LCRSILCRS CopytoMADI TIT IT r rt Copp to MADI T lF lF lF Bal LCRSLSRB Bal LCRSLSRB Console Network Console Network Connect TP address Console Rig Fjal IL LC C HC H SL Sp B Connect TP address Console Rig 7 1 IL LCCRCASLSAB 192 168 1 2 Change 192 168 1 2 Change 22 Restore x Cancel 22 Restore x Cancel Note that the Optocore IDs are 20 FOH and 22 MON In this example other details are the same but this is not necessarily always the case MADI Connections If the consoles are to be connected via MADI the setup would be as follows but Gain Tracking would only be unidirectional with the FOH acting as Master and the Monitor console tracking the changes Note This configuration requires a Word Clock connection from the FOH to the Monitor console The FOH console should be set to Setup Audio Sync Master and the Monitor console to Setup Audio Sync Word Clock The recommended connection between the Monitor console and Stage Racks is a single MADI OUT from each Stage Rack s AUX MADI connected to the console s MADI 1 IN for Stage Rack 1 and MADI 3 IN for Stage Rack 2 If both MADI INs and OU
86. d under the same file name as it was previously saved or loaded from It therefore serves as a Quick Save option to update an existing session Remember that this function will overwrite your last saved version If you wish to save the session under a new name use the Sessions menu button and select Save As New File See above 4 2 7 USB Data Port cc ccs enean The console ie equipped with a Data Port which is designed for use with a key ring style data card To use this facility insert the card into the USB Data Port and it will be recognised as an external drive It will then appear in the Load and Save panels and can be used for storage and retrieval of sessions and presets 4 8 SOUNOTe ACS Chapter 4 4 2 8 Saving Mix Passes U2 1 te Cea 9 You may have several conflicting opinions about which direction your mix should take You can store them all as Mix Passes If you make some updates and are not sure whether you will need to come back to the current mix keep a pass Do this by pressing the Mixes button in the Automation Menu on the Master Screen Then press the Save Mix button and a box will appear to allow you to name the pass If you do not require the last pass you can delete it immediately by touching the Discard Pass button with the double headed arrow Each version you have kept by pressing Save Mix will be displayed along with the time and date of storage The session has a capacity of 9
87. display recorded MIDI snapshot events The MIDI text editor may also be accessed by right clicking on an automated MIDI snapshot in this strip MIDI snapshots and their automation events are stored in session files The New Session panel has a Clear option for MIDI if selected the MIDI Automation strip will disappear until the MIDI panel is next opened in the new session 5 8 SOUNDTRACS Chapter 5 5 1 12 Control Groups and Automation sss sss sss sss sese sese sese sees Control Groups have their own automation controls and these operate by passing mode changes on to individual channels Therefore pressing a control group s Record button will put all the channels in that group into record mode Fader Movement Although Control Group faders have their own automation Record and Play buttons the movements of Control Group faders are not stored as Group events by the automation system Instead the separate movements of all the channel faders connected to that Group are stored This also means that they appear in the Automation Editor section as individual channel fader movements on all connected channels so that the movements for each channel can be edited separately Record and Play Buttons The Control Group Record and Play buttons operate the corresponding Record and Play buttons on all the channels connected to the Group Pressing Record or Play on a Control Group puts all the connected channels into that mode If the members of the
88. dition to the surround Pan control there are two additional controls for Divergence and Sub in 5 1 format and one control for Divergence in LCRS format When using the Joystick to Pan the Selected channel you will find that the Joystick position is shown on the Pan control as a pair of green lines Moving the Joystick moves these lines but does not move the Pan position of the channel itself until the green lines travel over the real Left Right or Front Back pan position Once the Joystick position has passed through the real Pan position further move ment of the Joystick will then alter the Pan position in the normal way When using the rotaries for surround panning the upper rotary controls the Left Right position and the lower rotary controls Front Back Preset Pan Positions The upper button directly below the pan rotaries can be used to reset panning positions In a stereo console it will switch panning between left centre and right positions with successive presses In LCRS and 5 1 consoles the button works in a similar way for each available position Panning Stereo Channels When an input channel is stereo and therefore controlling a pair of input signals the pan control will appear in one of the following ways In a stereo console configuration the upper rotary serves as a width control with the full left position being mono the centre position being normal stereo and the full right position being wide stereo The width control is
89. e The required syntax is Backstop n where n is number in the range 0 to 255 A setting of 0 turns the function off and 1 to 255 represents the fader scale from the bottom to the top This function can be used with either PFL or Dual PFL AFL Solo Modes 6 14 SOUNMTE ACS Chapter 6 OOO AWO 2 ge er eer oe mee ee eee eee eee eee rere This function can be applied to any number of individual input channels and is switched on by touching the Auto PEL button in the input routing panel for the required channels If an input socket has Auto PFL declared in the sockets file eg Line1 1 1 1 AutoPFL then selecting it as an input source for a channel will automatically switch that channel s Auto PFL on The button can then be switched on or off as required In the Setup Options Solo panel there are two Auto PFL Mode options Full Mode With Auto PFL switched on when a channel fader is moved down below the FaderRelayDown threshold that channel will be soloed automatically and when it is moved above the FaderRelayUp threshold the solo will go off Off Only Mode With Auto PFL switched on moving a channel fader down below the FaderRelayDown threshold will have no effect on the solo However assuming that the solo is already on when the fader is moved above the FaderRelayUp threshold the solo will go off The threshold levels can be set in the DSOO ini file The required syntax is FaderRelayDown n where n is number in the range
90. e Filters are switched into the Dynamics section the Gate Key Source is automatically switched to its Self setting and disabled Gate Key Source Signal Group Select Signal a Channels Hisc Line 7 Mic 1 16 Line 3 Steren Buss Line 5 Hono Buss Line amp Line 7 Line amp Line 9 Line 10 Line 11 Line 12 Line 13 eel W Close 7 5 The Key Solo places the Key Source signal on the Solo buss in PFL Mono mode This is achieved by holding down the corresponding button in the gate controls below the screen Configuration and Filters The default structure for the Dynamics Module is a simple Compressor Gate layout but you can also select from four other structures or orders of effect processing and use filters to achieve frequency sensitive keying of the dynamics The filters are a pair of second order 12dB Octave High Pass and Low Pass filters which can be swept between 20Hz and 20KHz You can select any of the structures just by touching them on the screen and all the structure options except the default top one use the Hipass and Lopass filters The filter roll off frequencies are controlled by the rotaries directly below the on screen controls Note that the filters cannot be used on an external trigger source te Toone H aate In this configuration the filters are used in the side chain of the compressor to provide frequency conscious compression effects such as de essing 2 10 S
91. e Pre Fader Post Mute Pre Fader or Post Mute Post Fader for the new session Remember that when all settings are cleared any labelling or routing which you have done will be lost 4 2 4 The Load Session Button cceccceceecececscsceceecseeceeceneaneaees Touching this button will open the following panel System passons Layout Automation Snapshots Bus Contral Effects Monitor Setup v Te F v Outputs Groups Matrik New File Load Session Back Groupe AuUx File Date Time Title Up SF Mode Mo St Su Mo St template ses 1208 02 15 10 Template Session 48 Stereo 4 4 internal ET This panel shows the contents of your drives and folders listing any saved sessions with a note of the console configurations on the right hand side of the screen These include the removable drive that can be plugged into the USB Data Port on the worksurface Simply select the drive you require in the bottom left corner and then open a folder from the scrolling list next to it by touching it You can then touch a specific session file to highlight it and touch the Load button to open the session Sessions can also be renamed or deleted in this panel using the Rename File or Delete File buttons in the same way The smaller New Project Rename and Delete buttons all refer to the folder listing and also appear in the Save As New File Panel The Set Backup Files button is only relevant if your system is connected to a NetTracs server
92. e changes will affect the channel s audio signal but the changes are not stored by the dynamic automation system If a control is in Isolate Mode it can be affected by recalling a Snapshot Selecting Isolate Mode To select Isolate mode press the currently lit Rec or Play button NB Pressing again on the currently selected mode button will normally switch the indicator off and when neither of the Rec Play buttons are lit the channel is in lsolate mode 5 1 3 Record Mode css ss sss essea enean When a channel s Record LED is lit and its Play LED is not lit the channel is in Record mode In Record mode while timecode is running channel control movements are recorded as automation events The types of controls that are automatable is determined by the Automation Options See Section 5 1 5 Most events are displayed in the Automation Editor and can later be adjusted using the editing tools Selecting Record Mode To select Record mode ona channel press the Record button If the channel is already in Play or Update mode see below you may have to press the Record button several times to enter Record mode 5 1 4 Play Update Mode cesses sssssssss essen When a channel s Play LED is lit and its Record LED is not lit the channel is in Play mode if Touch Record is switched on in the Automation Options this is also the mode used for updating the automated controls changes You can put a channel into Play mode by pressing the Play butt
93. e e ecce Detailed information on the various systems of connection is provided in the Interconnection and System Setup Manual but the following diagram provides an overview of a single console setup The DSOO may be connected to the DiGiRacks with MADI coaxial cables standard or with optical fibre optionally There are 2 sets of MADI In Out ports on the rear panel of the console labelled MADI 1 and MADI 2 The DiGiRacks also have 2 sets of MADI In Out ports labelled Main MADI and Auxiliary MADI If the DSOO has an optical fibre option there will be optical fibre ports A and B on each device Connections are as follows CONNECTION WITH MADI CONNECTION WITH OPTICAL FIBRE ee E ae pe PT PRR RR 66666666 6 ee Tanne 669 6 6 EE a i ET i TT ti a Raa aE oo 2 poe Se oe 6 8 a amp eee s s amp RSS amp SS a eee e a MAIN MADI IN MAIN MADI OUT MAIN MADI IN MAIN MADI OUT OPTIONAL REDUNDANT LOOP MADI PORT 1 OUT MADI PORT 1IN MADI PORT 2 OUT MADI PORT 2 IN Detailed information on multiple console setups is provided in a separate chapter of this manual 1 4 SOUNDTRARACS Chapter 1 1 2 2 The DiGiConfig Program sss ssss sss sese sese see ss sees esen The following example shows how to run the DiGiConfig program from the DSOO software in order to configure you hardware This procedure will normally only be necessary when the console is first installed and if any hardware changes are made subsequent
94. e ee 5 9 5 2 2 Scaling the Automation Editor Display sss sees ees eee eee 5 10 Ee WING MELINE rarior 5 10 92G EVENT IS OU AY cae siccra cae EE E E 5 11 5 2 5 Automation Mode Buttons sss ss sss ss esse eee 5 13 5 2 6 Selecting and Editing Events css s esse s sss s esse eenn ee 5 14 5 2 7 The Selection TOONS ssssssssssssssssssssssssssssssssssnassna enaa anana asan 5 14 5 2 8 The Editing Tools cesses sss sss sees 5 15 9 2 9 INe Event ree siimi Aa 5 16 5 2 10 Write to Start and Write to End css sss sss ee seene 5 17 GTE CIS pairina te ates ce E a ne eens ba ects EE E EOR E 6 1 1 Selecting Effects css sss esse eee eee eee 6 3 6 1 2 Effects and ROUNO sirsiran ARE 6 4 6 1 3 Effects and Auxiliaries sss esse sees esec eee eee 6 4 6 L4 Output VS OU atc cacescascantne nme tosanecncscase wnt aecnasticcaecteseceenenaneenesageeneaes 6 5 SMUNDTRACS OZ AIL CONTO H 6 6 5 2 1 Effects Parameters cesses cee tees tse cee ennenen 6 6 5 2 2 Output Processing Parameters cccsseceeesseeseeeseeeeenenenesenes 6 6 6 3 EX 00 Fader Expander Unit cccecececeeeeeeeeeeecneeeeesceseneenseesneenes 6 9 6 4 FP 00 Film Panel Expander Unit ss sss ss sss cs sese 6 10 6 5 HD 00 Expander Unit sss sss sss sss ss sees neee 6 11 6 6 Broadcast Options cs ss sss ss see eee neee 6 12 6 6 1 Mix MINUS acacia oe ee eects eee eee eee 6 12 6 6 2 Creating Mix Minus Busses sss s sss e esec sese ee eee eee 6 12 6 6 3 Routing Signals to the Mix Minus BUSS
95. e eee eee 4 23 4 7 4 Monitor CR 1 2 and 3 Output Switches sss sss sss s esec esec 4 23 4 7 5 Control Room Source Buttons ss sss esse sese eee eee 4 23 4 7 6 The Monitor Matrix cesse sss sss sss cesses eee eee 4 23 AO MACOS annann server tienssncsuanuesncesneenestaceardsseeesnnseecneneeseetieeeees A 4 9 Transport Controls and Timecode s sss ss sss ss ssscsss seene ee 4 4 9 1 Transport Controls amp Locate Points sss sss s esse eee eee 4 30 4 9 2 Transport Timecode Configuration Panel ss ssss sss ss sss esse 4 31 C RRR d i L e E E E 4 32 4 10 Audio Svnchronisation cssss esse sss ss sese ees ee eee A 4 10 1 Internal Sync Console As Master cesses sese sese 4 33 4 10 2 External Sync sets arcsec essen eee eee 4 33 4 10 3 Sync Outputs as rcs sss sss 4 34 4 10 4 Sample Rate and Conversion cesses ss sss esse sese eee 4 34 5 1 Real Time Automation sss sss ss sse s ssc s eee e eee eee eee 91 2 en M QE HH 5 2 21 9 RECO MOGE iirin aaa aa eiaa aai 5 2 5 1 4 Play Update Mode sss sss sss sss 5 2 5 1 5 Automation Options sss ss ecce ecce eee eee 5 3 KEO SAE I OG T 5 4 el COTESESE TIM G eee ST I E EE a H 5 4 SLS Edt BIOGR TT 5 5 ITS LUTE SOCK noe E 5 6 5 1 10 Snapshot Automation css sss ecce ces e ecce e eee eee 5 7 5 1 11 MIDI Snapshots sss esse sese cesse eee eee eee 5 8 5 1 12 Control Groups and Automation sss sss sss ss esec esec eee eee eee 5 9 5 2 The Automation Mix Editor esse sss s sse seene enne 92A Channel eT eee nee eee ee eee ee
96. e state an inactive engine cannot output to a MADI rack Multi Console amp Rack Connections Multi Console amp Rack Connections THIS CONSOLE THIS CONSOLE MASTER Audio Outputs Active ethernet connected connected Sync Session Sync Session i I z Full Connect MIRRORED MIRRORED Main Console Redundant Engine Mirror Console or Remote To enable control of the DiGiRacks press the Full Connect buttons for the Optocore and MADI racks You will then be required to confirm the action the session settings will be sent to the racks and the console will have full control over them If you have a system where more than one console is sharing the racks you may wish to use the Receive Only mode where the console will receive the rack s existing settings but will not be able to control the gain on the racks Options are Isolate where the console will not communicate with the racks and therefore any adjustment of input gain or 48V switch will have no effect on the rack settings Receive Only where the console will receive the rack s existing settings but will not be able to control the gain etc on the racks Full Connect where the console will send its settings to the racks and change them accordingly If Copy to MADI has been ticked in the Hardware Configuration for the optocore racks then the Listen to Copied MADI button provides a quick switch from monitoring the normal signals received via optocore connections from the
97. e taken for the attenuation to reach the desired level after a decrease in the level of the input signal The Ratio control lets you set the ratio between the signal level change and the resulting attenuation change For example if you set the Ratio to 2 1 and the signal is above Threshold a 6dB increase in level will result in a 3db increase in attenuation so the net effect on the audio signal will be a level increase of 3dB The Gain control allows you to boost the overall level of the audio signal coming out of the compressor to make up any level lost through compression The Meter provides a constant indication of the compressor gain reduction The Sidechain Solo places the Sidechain signal on the Solo buss in PFL Mono mode This is achieved by holding down the corre sponding button in the compressor controls below the screen a L la a 2 9 Chapter 2 Gate The Threshold is the signal level above which the Gate has no effect The Attack time is the time the Gate takes to open once the signal level has risen above threshold The Decay time sets the time the Gate takes to close once the signal level has dropped below the threshold and the Hold time has passed see next paragraph Along decay time means that the attenuation increases gradually making any sub threshold signal fade out A short decay time means that the Gate shuts quickly cutting off the signal abruptly The Hold time is an extra period for which the Gate remai
98. e two controls are used for send level and pan position for that Aux As always the assignment of the rotary controls below the screen is clearly indicated by the highlight on the relevant screen controls and you can always use the Screen Scroll buttons to access the control you require Cs E T 2 11 Chapter 2 Aux Pre Post and On Off Switching Each Aux Send rotary control in the Lower Row has an associated switch which operates both the Mode and On Off function for that Aux If the level control is set to zero as Aux 1 above the switch controls the Mode setting for that Aux As soon as the level control is moved above zero Aux 2 above the switch becomes an On Off switch for that Aux send So to change the Mode setting for an Aux you must first reduce the level on that Aux Send to zero There are 3 possible Modes PREM Pre Mute and Pre Fader PRE Post Mute and Pre Fader POST Post Mute and Post Fader See Aux Buss Control in Chapter 3 for global mode changes Pan Control Panning to the Master and Group busses is Stereo or Surround depending on the console configuration Pan position for each channel can be controlled in two ways by using the rotary controls in the Lower Row below the on screen channel display or by Selecting the channel and using the Joystick For surround panning the Joystick is much more intuitive than using a pair of rotary controls Surround Panning With Surround console formats in ad
99. e video signal you have to choose the sample rate you want to generate between frame boundaries in just the same way as when the console is providing the master sync e OT as 4 33 Chapter 4 Optocore If your console is connected to your DiGiRack using an optocore connection the optocore option must be selected and the sample rate set to 48KHz Sync to Audio Signal Any of the console s digital audio inputs can be selected as sync source If you choose the Audio Signal option in the Sync control panel you can then choose any input signal group and number in just the same way as the audio component of the signal is selected as the source for a console input channel When you have selected a signal group the panel displays a green OK light to indicate when a signal in that group carries a valid sync source B10 Syne OUTPUTS aia cacecsiases tat oeseen Gans ecoesennons aeniea All digital audio signals have their own inherent sync but there are also Word Clock outputs on the Rack Unit s and on the console rear panel Youcan use any of these to sync external digital equipment to the console 4 10 4 Sample Rate and Conversion sss esse sss ses esse e eee The default sample rate for the console is set up at installation and it is this sample rate which will be used when the console is operating as the master digital sync source If the console is synchronised with an external digital audio unit the sample rate used by the external unit
100. efault console configuration When your session has been recovered you should save it under a new session name NOTE Holding the keyboard Shift Key during the reboot will also open the Restart and Recovery panel oS Oo as Chapter 4 4 2 10 Managing Presets sss esse sss sese sese ess essen ennenen Presets Channel EQ and Dynamics can be loaded and saved in any file ending with PRE Under the Sessions menu touch the Load Presets button and the following panel will appear Load Presets This panel shows the contents of your drives and folders listing any saved presets Simply select the drive you require in the bottom left corner and then open a folder from the scrolling list next to it by touching it You can then touch a specific preset file to highlight it and touch the Load button If you wish to keep your existing presets and add the contents of a saved presets file to them touch the Merge button Presets can also be renamed or deleted in this panel using the Rename File or Delete File buttons in the same way The smaller New Folder Rename and Delete buttons all refer to the folder listing and also appear in the Save Presets panel To save a Preset file touch the Save Presets button and the following panel will appear Save Presets DSoo PRE Select a drive and folder in the bottom left hand corner of the panel type a new name in the New Filename box and press the Save button NOTE The current presets file is
101. eight different Control Room Sources To enter Macro commands touch the Node of the required source and then touch the relevant Macro Command in the box at the bottom of the panel There are 5 different commands ON The source will be switched on at each press of the output switch OFF The source will be switched off at each press of the output switch TOGGLE ON The source will be switched on at the first press of the output switch and off at the second press TOGGLE OFF The source will be switched off at the first press of the output switch and on at the second press NONE The source will not be affected by the action of the output switch This is different to the OFF setting as that will specifically turn the source off when the output switch is pressed Example Pressing Toggle button one once will monitor sources T1 T2 and T3 Pressing it again will monitor sources B1 B2 and B3 T na aas Taer T The Insert Point The setting of the monitor insert point can also be programmed with the above macro commands in the column beneath the insert button For example if you programmed the insert to TOGGLE ON and the required sources to ON you would be able to hear your sources with or without processing by toggling the relevant Output Switch Speaker Check On the right hand side of the Monitor Matrix panel there is a set of Speaker Check buttons which allow you to hear your individual speaker outputs in different combination
102. el Level 22 0 The Editing TOONS rsisi aa These tools operate only on the Selected events They are greyed out until you have used the Selector tools to select one or more events te Delete This button simply deletes all the selected events from the mix They cannot be recovered except by using the UNDO button see below eS Kl r These buttons use the Clipboard for temporary storage of events The Cut button deletes the selected events from the mix but stores a copy on the Clipboard The Copy button leaves the selected events in place but stores a copy of them on the Clipboard The Paste button inserts a copy of the Clipboard contents e a selected group of events into the mix Once a group of events in Pasted in you can use the normal editing tools to move the group forward or backward in time or to a different channel Tt Duplicate This button simply creates a duplicate of the selected group of events in the same position as the original group and selects the duplicate set You can then drag this group of events to any position you wish The Duplicate tool is particularly handy for copying a set of events across several channels To assist with this process when placing the duplicate events you can hold down the lt Shift gt key to lock out any left right trackball movement this ensures that when you place the duplicate copy on another channel the new events are locked to the same timecode as the original ones CJ la S
103. el can be trimmed by 18dB 2 14 SOUNDTAACS Chapter 2 Insert Routing and On Off Switch This button controls the routing for the input channel insert send and return selection Touching the word Insert displays a panel which allows you to select Send and Return sockets in the same way as you would select an Input socket or a Direct output There is also a Send Gain control providing a trim of 18dB Touch Here to Open Close Panel Insert On Off Touch to Select Send Socket Touch to Select Return Socket Socket Group Selector Socket Selector Pre Post EQ Dynamics Switch Level Trim amp Meter Insert On Off The Insert can be PRE or POST EQ and Dynamics switched by the button just above the Send Gain If you touch the In button the channel s signal is taken from the Insert Return socket and thus switches the insert on Note If the insert is switched on but a socket has not been assigned for the insert return then there will be no signal audible in the channel 2 2 6 The ALL Button css sss sss eee ennenen The All button provides a quick way of displaying all the Input Aux or Routing modules for a bank of eight channels If you hold down the All button while touching the Input Routing or Aux modules the expanded view of the relevant module is displayed for all the visible channels rra 46 Line T R Ke BB BB A oR gO Ao a oR Beel Chapter 2 You can also scr
104. el of a surround buss or output Controlling the Sub Feed When a Sub control is present the lower button directly below the pan rotaries switches between three different states for controlling the Sub Feed Successive presses of the button will change to the following states LCRSS on The signal can go to all busses except the sub buss according to the channel pan position Default mode Sub on The signal can only go to the Sub Buss Indicated by a B in the display All on The signal can go to all busses including the Sub Buss Indicated by LCRSS and B in the display The current state is indicated by letters in the background of the pan control display NOTE This control is contained in snapshots and channel presets It is part of the Panning Scope for Snapshots 2 2 9 Routing Modu l occigcerenoctaseccunnaxnensasessnonsananddencemeccxmesaaweutiacascass At the bottom of the input channel display is the Routing Module This gives an abbreviated display of the current channel routing on the left the Main and Group routing and on the right if the channel is routed to a Direct Output the name of the Direct Output socket As the screen only has enough space to display one Group name the routing of the channel to additional Groups is indicated by dots If the channel is a member of a Control Group the name of that group also appears here Routed to Main and other Routed to Main only and group s no direct routing Direct routed
105. elected These functions are the same as in the Offset panel on the previous page Touching the Cancel button will close the panel Entering Times To enter times you can either 1 Touch the number boxes and type 2 Use the up and down arrows to increase and decrease values 3 Capture a timecode position by running the code and touching the Capture button at the required point or locating the point and then touching the Capture button To Delete a section of the mix Enter a Start and End time for the block which is to be deleted Select Leave Gap to leave a space in the mix when the block is deleted or Close Gap if all subsequent events are to be slipped back in time by the size of the deleted block Touch the Delete button To Move a section of the mix Enter a Start and End time for the block which is to be moved and a Destination point to move it to Select Insert or Overwrite as appropriate This will determine whether the block is inserted by slipping all subsequent events forward in time by the size of the block or by overwriting existing information Select Leave Gap or Close Gap as appropriate Touch the Move button To Duplicate a section of the mix Enter a Start and End time for the block which is to be duplicated and a Destination point to duplicate it to Select Insert or Overwrite as appropriate Select a number of Copies which will be repeated end to end at the destination point Touch the Duplicate button To Cop
106. elector Mic 1 pressed and Mic 2 selected automatically If this button is pressed the input channel functions will control two input signals the one which has been selected and the next one in the rack Input source Direct output Insert Send and Insert Return will all function as adjacent pairs so making a selection for the left signal will result in an automatic selection for the right signal Processing for the right signal is taken from the highest numbered channel available which has no input route or insert return route selected The channel which is used will no longer be available for normal operation This is indicated by a white channel number Stereo channels show all signal meters as pairs Gain reduction meters in dynamics are also shown as pairs but with the dynamics stereo link switched on only the larger gain reduction of the pair is used for both sides of the stereo channel The meter bridge shows two peaks for stereo inputs The stereo channel display will change in the following way MS Decode Swap Left and Right Signals Input Balance The following additional functions are made available MS Decode This button will activate MS Decoding for the stereo signal Swap Reverse Left and Right Signals This button will reverse the left and right signals or the Middle and Side signals if MS Decoding is active Input Balance Controls the relative levels of left and right signals in the stereo pair NOTE Most of t
107. enateysaceaussueeasanesasseesseneaseedestecheaseeneeeeses 8 1 fi T T SMUNDTRACS Chapter 1 Getting Started a L la a T Chapter 1 Chapter 1 1 2 SOUNMTEACS Chapter 1 1 1 The Console The Soundtracs DS 00 consists of a worksurface and an Input Output Rack Unit The Rack Unit DiGiRack is connected to the console by MADI and or optical fibre links which carry all the audio input and output signals The console worksurface consists of 1 Input Bank and a Master Section with an option to add up to 4 EX 00 expansion units providing a total of 49 faders Each input bank has 8 assignable faders and 8 sets of assignable on screen channel controls the Master Section has 8 assignable faders and a master fader The Master section controls outputs monitoring and configuration The console s buss architecture is dynamic and can support stereo LCRS 5 1 and 7 1 configurations k gt gt 2 gt me 3 Hardware Standard Configuration 64 Processing Channels 40 Busses 1 DiGiRack 8 Analogue Inputs 16 Analogue Outputs 24 AES Inputs Outputs with SRC per XLR 8 Input Output Optical Connection Options EX 00 8 fader expander unit a maximum of four units can be fitted FP 00 dedicated Film Panel 19 section with paddles and 17 wide screen TFT HD 00 19 rack for hard disk editor or outboard insertion Redundant PSU with auto switching for console worksurface and or audio rack On Board FX Kit
108. er Port T is assumed if there is no entry here A 2 digit MIDI Channel number between 01 and 16 N to indicate Note On A note number between 0 and 127 A velocity value between 0 and 127 eg A 01 N 60 127 Note Off The MIDI Port Number Port T is assumed if there is no entry here A 2 digit MIDI Channel number between 01 and 16 N to indicate Note Off A note number between 0 and 127 A velocity off value between 0 and 127 eg A 01 N 60 127 CJ T oe Chapter 4 Program Change The MIDI Port Number Port T is assumed if there is no entry here A 2 digit MIDI Channel number between 01 and 16 P to indicate Program Change A program number between 0 and 127 eg A 01 P 127 Control Change The MIDI Port Number Port T is assumed if there is no entry here A 2 digit MIDI Channel number between 01 and 16 C to indicate Control Change A controller number between 0 and 127 An equals sign Optional A controller value between 0 and 127 eg A 01 C 11 64 The words Program and Controller may be used or just their initial letters case insensitive The equals sign is optional Comments are not stored although anything on a line after a semicolon is ignored The first message in the editor is used as the snapshot name on the button label but this may be edited When not capturing editing renaming or deleting the snapshot buttons will output the stored MIDI data when pressed MIDI Patches are stored in session files The N
109. erent rooms in the studio Changing Talkback Presets Any changes you make to the talkback mic routing while a preset is selected is automatically stored as part of that preset 4 14 SOUNDTAACS Chapter 4 4 5 Control Groups 4 5 1 Creating Control Group sss sss esse sss s esse sese Any number of input channels and output channels can be connected to one or more of the 8 Control Groups They can then all be operated from a single worksurface control Changes to the Control Group fader mute or solo controls will affect all channels connected to the group To set up Control Groups 1 Touch the Control Groups button on the Master screen 2 Touch the Touch Faders To Join Leave button on the required Control Group 1 8 3 Touch the faders on the channels that you want to include Touching the fader again will remove it from the group 4 Touch the Touch Faders To Join Leave button again to turn the function off 5 Use the worksurface fader mute and solo to adjust settings for the Control Group members System Sessions Layout Automation Snapshots Bus Control Effects Monitor Setup z v7 Vv Outputs Groups Matrik v ta Touch Faders Touch Faders Touch Faders Touch Faders Touch Faders Touch Faders to Join Leave to Join Leave to Join Leave to Join Leave to Join Leave to Join Leave Moving Made Moving Moving Mads Moving Moving Mode Moving Touch Faders to Join Leave Note that as we
110. ession Panels css sss sss essen eee 4 6 4 2 3 Clearing Settings sss s sss sss sss shee esec ee eee eee eee eee 4 7 4 2 4 The Load Session Button css sss sss sees eee eee eee 4 7 4 2 5 The Save As New File Button ccs sss ss sss esse sese 4 8 4 2 6 The Save Session Button c ccs ss sss ee eee 4 8 4 2 7 USB Data Port cssss sese essen eee eee 4 8 4 2 8 Saving Mix Passes sss s sese es esse eee eenn 4 9 4 2 9 Autosave MIX recovery sese s ese eee eee eee eenn 4 9 4 2 10 Managing Presets sss sss sss ss sss ss esse esse eee eee 4 10 4 2 11 Solo Options s sssss esse essen eenn 4 11 4 2 12 Master Section Meters ccs sss sss ss sss e sees eee 4 12 SMUNDTRACS 4 2 13 Meter Bridge Options sss sss sss sss es essen eee neee 4 12 4 2 14 Meter Ballistics 00 0 0 essen eee 4 12 4 2 15 Assignment Options css ss ese s eee e eee eee 4 12 4 3 Studio Monitoring The Studio Feeds sss sss ss sss sees eee AA WANK ACK parrer nar EAEE AATE A IEEE 4 4 1 Talkback Mixer Button 20 0 0 sss esse eee eee eee 4 13 4 4 2 The Talkback NMWer cccss ss sss sss es ee eee eee eee 4 14 4 4 3 Talkback Mic Setup sss esse sss sss e esec e eee eee 4 14 4 4 4 Talkback Presets csssssssss sss seene eee eee 4 14 c Reas Oae EE OUDS geet et nthe eet eran ee ee ee ere 4 5 1 Creating Control Groups css sss cesses esse cesses eee eee 4 15 4 5 2 Naming Control Group ss sss sss ss ese s eee esse eee eee 4 15 4 5 3 Adjusting Control Group Channels Independently
111. ew Session panel has a Clear option for MIDI which deletes all MIDI Patches leaving an empty list MIDI Sequence Files MIDI sequence files can be played out of ports A and B They must be MID files in format 0 one track only and are quoted in the MIDI Patches Editor as lt port gt file lt filename gt eg A file test mid A path can precede the filename otherwise the current session folder is assumed Only short filenames with a maximum of 8 characters and no punctuation are accepted This file is then downloaded to the card and starts playing when the MIDI Patch is fired The Sequence File Start and Play buttons on the MIDI Patch panel then become effective Press Stop to pause then Play to restart from the same place or re fire the MIDI Patch to play again from the beginning of the file This remains possible until the file is played to the end or another Patch is fired with another sequence file for the same port Other MIDI messages may be sent to the same port without affecting the sequence playback MIDI Patches are stored in session files The New Session panel has a Clear option for MIDI which deletes all MIDI Patches leaving an empty list 4 22 SOUNMTEACS Chapter 4 4 7 Control Room Monitoring The console s Control Room monitoring system normally monitors the Main buss signal or the Solo signal if any channels are soloed N control room Control Room Level l dim nsl monitor matrix anD Tipe t
112. g Mix Minus Busses sss sese cesses sees sees In the New Session panel create a console configuration with the required number of mix minus busses by entering a number maximum four in the Mix Minus box In the following example one mix minus buss will be created start New Session Manual EIC 20 16 1E 1E oee e ln Sak e RRR The resulting output channel configuration should look something like this H INI lt IN S LTR LIMITR 1 LIMITAR LIMITR LIMITR REC k REC lange FP rec PLAY ET s 0 SOLO LS Rati sove vo E El E E a Grpi H G 7 a Grp over Wer Wer Dyer L Poer LIMITR ri a h Gr SU 6 12 SOUND Te Acs Chapter 6 6 6 3 Routing Signals to the Mix Minus BuSS css esse esse sese To set up the mix minus buss all the required signals should be routed to it Signals can be routed to the mix minus buss in the normal way by pressing the relevant M button in the buss routing panel The following example shows a Mic a CD and an incoming phone signal routed to the M 1 and Main busses Mic R li co __ BUSSES EE A Man Co se xs 504 65 a os aan an a il Md coe Ada coe 6 6 4 Routing the Mix Minus Signal to an Output 0 Mix minus feeds can now be sent from any input channel with that channel s signal removed to any available output socket Touch the Directs button in the routing panel of the required cha
113. ge When pressed they will switch the control room signal to one of the three sets of monitors They could for example be configured as the stereo main nearfield and TV monitors or possibly as stereo LCRS and 5 1 monitors a L la a T 1 17 Chapter 1 To Assign a Monitor to a button Press the Monitors Setup button and a new panel will appear which allows you to select a monitor setup from the user defined list Touch one of the Monitor CR1 2 or 3 buttons and then touch one of the entries on the list to assign it to the button oo S cs ae HAN REN eee Ea ao ras To Edit or Create a Monitor Touch the button labelled Edit Monitors in the Assign Control Room Monitors panel You may select an existing monitor in the column on the left hand side or define a new one by pressing one of the buttons in the column marked New Touching an existing monitor button a second time will unassign it The Delete button will remove the selected monitor from the list A new monitor can be named in the Label box and then each signal of the Control Room Output can be sent to a specific speaker by pressing one of the Select Signal buttons and choosing a speaker from the Select Speaker column The list of speakers is defined in the Sockets File at installation 1 18 SOUNMTEe ACS Chapter 2 Chapter 2 Inputs and Console Channels Cs la R T s Chapter 2 2 2 SOUNMOTE ACS Chapter 2 2 1
114. ged the mode of the previously isolated control in the Automation Editor and then reinstated it into the automation scope it will retain its current mode and the parent module s mode will be updated to match it 5 1 6 Safe Mode css ccs sss Safe mode is provided so that the automation information stored in previous mix passes can be kept Safe and cannot inadvertently be altered by adjustments to the channel controls Safe mode cannot be set using the Record and Play buttons but must be selected using the trackball or touch screen on the Automation editor screen for more information about how to use this screen please see section 520 There are two different variants of Safe mode depending on the mode the channel was in when Safe mode was selected Ifa channel is in Play mode selecting Safe mode will prevent the worksurface controls from having any effect on the audio signal all the channel control changes are replayed as stored by the automation system in previous passes and changes to the channel s worksurface controls have no effect Ifa channel is in lsolate mode selecting Safe mode will allow you to control the audio signal using only the worksurface controls The settings stored by the automation system on previous passes are neither deleted nor played None of the adjustments you make are stored by the automation system and control changes stored in previous passes are retained but not played If you press safe on a channel which is i
115. ghlighted na am snapshot relative Er Undo las g Updates current Highlighted Sees m relative snapshot s master Undo previous firing a esa Replaces current if enabled Highlighted snapshot Puts snapshot under control STR RENACE Replaces snapshot chosen of sequence duration after pressing button in timing panel ect Allows editing of multiple snapshots control by after selection Enables recording of snapshot aukomaticn firing in automation Rec a Allows changing of order of Puts snapshot firing under a Flay snapshot list automation play control BE Press and select snapshot to rename Puts snapshot firing under emia controlof incoming MIDI ae Press to open Renumber panel data on channel 16 Press and select snapshot s to delete Fire Prey Delet Touch BIELE to Fire A x Fires next snapshot in list Sends snapshot firing data to MIDI out Fires previous snapshot in list Allow snapshot firing by touching the screen Note The current snapshot appears in the panel as the highlighted button If a Snapshot name appears in black in the list it is a Master Snapshot and if it appears in red it is a Relative Snapshot If the current snapshot button shows an asterisk next to the number eg 001 this indicates that a controller has changed since the snapshot was fired 4 6 1 Master and Relative Snapshots css s sss sss esse ss sees eee A Master Snapshot black entry in the list is an absolute snapshot of the current state
116. hange only enabled i irouting reconfiguring and labelling disabled Lock console All operation disabled when this panelis closed Type password to unlock EZ 4 1 4 Consoles and Racks css sss sssses seene eee If the console is the only one in the system the Consoles amp Racks panel will not open automatically and the console will be fully connected to the racks with its Master Audio Outputs Active by default This panel can also be opened from the System menu If the system has been defined as consisting of more than one device the Consoles amp Racks panel will automatically open on boot up or load session If the crossed Ethernet cable or Ethernet switch has been connected then the Ethernet Connected line should show a green OK light and not a red cross The initial state will have no connection between the devices Independent or the racks Isolated and the panel appears in order to prompt the operator to make the necessary connections In this state any gain adjustments made on the console will have no effect as the racks will not be receiving any data The console s MASTER Audio Outputs Active button will normally be highlighted in orange to show that it is the master responsible for audio processing at this time The same button on the other consoles in the system should not be highlighted at all The MADI Rack s connect states Receive Only and Full Connect are enabled disabled and set according to the Audio Master activ
117. he bottom left of the Automation Editor screen Time Line SSS SAFE oo Soso aah 050 Ea S lt B a ig Sn 8 SEEM Sens REE 00 00 07 ame Trackball Position When timecode is running you can choose to make the time line move with it so that the line travels from left to right see Following the Timecode overleaf 5 10 SOUNMTEACS p Chapter 5 When timecode is not running you can select a particular timecode point in the mix by positioning the time line using the trackball To position the time line click on the timecode display area white background at the top of the section The Trackball Position Indicator provides a continuous read out of the position of the trackball pointer so you can use it to position the trackball precisely to the nearest frame before clicking to move the time line This will issue a locate instruction to connected machines if they are following the consoles timecode This button at the top right of the Automation section allows you to prevent the timeline from moving as timecode runs Stopping the timeline also prevents the automation data from scrolling out of the visible area this is useful if you want to look closely at a particular section of the automation data without stopping the timecode 95 2 4 H A BIS el T The Automation Editor primarily shows the Fader and Mute status for each channel along a timeline running from left to right As we have
118. he channel settings are preserved when switching from Mono to Stereo or vice versa Pans are reset and stereo routing may not be correct if the relevant output sockets are unavailable Phantom Power only appears if the channel s source signal is a microphone When you connect to a Microphone input a Phantom Power switch appears in the Input Routing Module Phantom Power operates at 48V The default setting of this button can be controlled in the Sockets File 2 6 SOUNDTARACS Chapter 2 Channel Presets The Channel Presets button allows you to store or recall a complete channel setup A Channel Preset contains all the channel controls from the Input Gain to the Pan and Fader positions and group routing Note that a channel preset does NOT include any input socket routing information this must be set specifically for each channel When you press the Channel Preset button the screen displays a Preset Selector vhannel Presets 04 011202 13 24 Mew Store Rename I Delete X DEFAULT To Recall an existing channel preset simply touch the preset you want If the preset is not visible you can touch the vertical arrows to scroll the list up or down The preset settings are implemented in the channel as soon as you touch it To store the current channel settings as a New preset touch the New button then type a name for the new preset To Replace an existing preset with the current settings touch the Store button then tou
119. his button displays the Audio Sample Clock Sync control panel AUGIG Sampe Hock synchronisation 4 10 1 Internal Sync Console As Master ccccssseesseeeeeees If you choose to use the console as the master sync source for the studio you can select a standard sample rate with the 44 1KHz or 48KHz buttons and the adjust it if necessary in steps of 0 1 or 100Hz and 1Hz K IR a Ln a coe ene ee eee enn ere es eee eens When you choose to sync to an external source the control panel will immediately try to find the sync source you specify and display a warning if no sync can be found as shown in the illustration below The presence of a valid sync source is indicated by the green OK lights not by the button If the selected sync source should disappear this panel will automatically be displayed with the warning message Audio Sampie Hock synchronisation WARHIHG 48000 Syne Source Absent Word Clock and AES EBU The worksurface rear panel has connectors for Word Clock and AES EBU inputs either of which can be used as the master sync source by pressing the appropriate on screen button note that the AES EBU worksurface input is for sync only and cannot be used for audio Video Sync Also located on the worksurface rear panel is the Video Sync input Although this carries only a frame boundary signal the console can generate a full digital word clock from it This means that when you choose to sync to th
120. hots Note also that by default the channel automation mode buttons control the automation mode for all the channel controls You can however set the automation mode for each control individually using the Automation Editor screen This gives a wide range of possibilities for combining Snapshot and dynamic automation here are a few examples Snapshot only all channels in Isolate and snapshots in Play or Update In this mode all parameters will be affected by the snapshots which are replayed You can move channel controls manually and they will remain as set until the next snapshotfires All Channel Controls and Snapshots in Play Any control which is dynamically automated is automatically locked out from the snapshots This means that when a snapshotfires a fader in play will not move to the position which was stored for it in the snapshot but will remain at the level the dynamic automation dictates Controls which are not dynamic compressor attack release etc will change however Channel Faders in Play EQ controls in Trim Snapshots Isolated Faders will move dynamically as normal but ignore snapshots Manually pressing snapshots will make and store changes to the EQ controls CJ la H T 5 7 Chapter 5 Channel Controls in Record Snapshots Isolated Firing a snapshot will reset all controls including dynamically automated controls The result is that the contents of the snapshot will be instantly inserted in the dynamic autom
121. in Tracking The local racks may be completely different but the sockets file on each console must contain identical entries for the shared racks The rest of the configuration must match the hardware of the actual console but the two consoles do not need to be identical MADI available for independent feeds for broadcast recording etc BI ern FOH amp MONITORS ono BEEBE GREER l USING OPTOCORE aay OPTOB OPTOA OPTO B OPTOA LOCAL RACK PORT 2 MADI oO ooo t oO ooo L 1 2 OPTO B EE l O oO ooo oO DDD lr O oO ooo 9 ID 22 EE 0 oO o00 L l ac o ooo O Q ED 6 Z i O OPTOA oO lsTels L l O a oO ooo 1 oO o00 5 3 oO o00 L 1 oO ooo 1t 2 B aas 2 MONITORS ohana Sync OPTO OPTOA ID 20 OPTO B a ey H Bi Directional Gain Tracking norop 22000 Both consoles can control the Analogue Gains FOH MADI Sync OPTO WAINI R LOCAL RACK AB To set up the hardware configuration open the DiGiConfig program in the System Service Configure Hardware menu D5 software will automatically close to enable configuration changes Select all the consoles in the rig FOH Main and MON Main and then select the console that you are configuring by pressing the THIS ONE button You can check the configuration by pressing the EDIT Details Button but clicking OK will confirm the setup and return to D5 software Repeat this process for the other console Note Both cons
122. ired The MIDI Patch must be created separately in the Setup Menu MIDI Patches panel Switching the MIDI scope on pops up a panel prompting for a MIDI Patch button to be pressed which will then be linked to the snapshot whose scope is currently displayed 2 The firing of snapshots can be controlled by incoming MIDI messages on channel 16 and can cause these same messages to be output in addition to any MIDI snapshots included in 1 above The MIDI Input Control button allows the Snapshot system to respond to the following incoming MIDI messages General Purpose Controller A Controller 16 Values 0 to 127 will fire snapshots 1 to 128 General Purpose Controller B Controller 17 Values 0 to 127 will fire snapshots 129 to 256 General Purpose Controller C Controller 18 Values 0 to 127 will fire snapshots 257 to 384 General Purpose Controller D Controller 19 Values 0 to 125 will fire snapshots 385 to 510 General Purpose Controller D Controller 19 Value 126 will fire the previous snapshot in list General Purpose Controller D Controller 19 Value 127 will fire the next snapshot in list MIDI Output causes the above messages 1 to 510 to be sent whenever a snapshot button is pressed Previous and Next buttons do not output MIDI messages of their own 4 6 18 MIDI Patches c ccccccececsccecececcececeececeneecenesaenescenenseneaeeneas The console s main MIDI port is Known as MIDI port T If your DSOO0 is fitted with the combin
123. is made to any of the members controls When this happens all members of the gang will be adjusted in the same way as the first but relative to their own starting position For example if the channel fader of one member of a gang is at minus 6dB and another is at OdB when the first fader is raised to OdB the second will be automatically raised to plus 6dB ie Both faders will be raised by 6dB from their previous position A similar situation exists with the other channel controls such as EQ and Auxiliary sends but when any of the gang members controls reaches its maximum or minimum level the relative offset relationship is lost Only the channel faders can retain their relative offsets after they have reached a maximum or minimum level Adjusting settings for one member of a gang If you wish to adjust the settings for one member of a gang without affecting the others a member of a gang can be temporarily isolated from the rest of its gang by holding the channel s solo button down while adjustments are being made When solo is released the channel will continue to behave as anormal gang member Which controls are affected by ganging Screen display changes such as showing the input or group routing modules can be different between gang members but the functions themselves are always linked For example if 4 channels were members of a gang and a different input source was selected for one of them the other three input sources would automa
124. is switched back to parametric operation The switching of the curve types cannot be dynamically automated Note The frequency and IN OUT status of the High and Low Pass Filters appear in the Dynamics display 5 12 SOUNMOTEACS Chapter 5 Dynamic Threshold Events Only the threshold and on off events for the compressor and gates are automatable pm Gate switched of here In this case the on off switching for each effect is shown by the area under the line not being filled in Snapshot Events Snapshots have their own line in the editor This allows you to see them in the order they play back and perform the same edits on them as with other events Here is a sample Snapshot timeline ALL ALL ALL ALL ALL FF F F T 0 25 0 3 Sets B ap R These events must be selected for editing at the left hand edge ofthe label This also indicates the exact time at which they will trigger 5 2 5 Automation Mode Buttons ccccccececsecccececeecsccecsceeeneenens Each control channel and section in the Event editor has a set of Record Play and Safe buttons which light to show their status You can press these buttons with the pointer and they will have the same effect as the channel buttons You will also see them respond as you change the status of the controls in the usual method by touching or by pressing the channel Rec and Play buttons They allow you to individually affect the status of a single
125. ith adjustable Filter Types on Bands 1 and 4 Output Lees aes OUTPUTS Stereo master HX Hz HPAES 300 Hz Loe kHz 5 02 kHz HIPASS Z B dip LOSHELF FR LOSHELF E HISHELF i L 4 L HISHEL eer 5 K a o A vnt 10 a alt _ d R 15 INPUT HORMAL on OUTPUT NORMAL 0 00 dE 0 00 AE 0 00 ME 0 00 AE 25 0 00 ae MAIN CHANNELS a o ae MAIN EG oO oe 1 1 our SAFE lt aa en Click here to change Set EQ Flat Click here to change Band 1 Filter Type Band 4 Filter Type LCRS Master The controls for an LCRS Master are the same as stereo See previous section but the Input and Output Normalising panels allow separate Gain and Phase control for each of the four signals Tx Large hall TYS 5 1 master fx6 LERS master Output Yn a 0 00 de 0 00 95 SUE limit B 8 B B chp LERS master F js I F E a s ts fx Studia delay 10 10 15 15 INPUT NORMAL 0 00 dE A EA M dE OUTPUT NORMAL E A N b MAIN CHANNELS i i 6 T thm C A E so aa SAFE ar eS Re os 3 5 1 Master A 5 1 Master provides separate Input and Output Normalising for each of the six signals and in addition the Sub Channel has its own Compressor Limiter and 4 Band EQ fx1 Large hall fx Studio delay fea te fxs 5 1 master TB Stereo master S OUTPUTS Output 7 5 0096 0 0096 0 00 95 m limit 5 1 master gt t i He z oO a HT 10 10 INPUT NORMAL G OUTPUT NORMAL 0 0095 a dE 0 0095 0 00 ME MAIN C
126. l Banks c s s ss sss sss eee eee eee eee 2 18 2 4 4 Move Channels sss sss ss sss sese eee 2 19 2 4 5 Copy Channels sss cca te eee cee ee eee 2 20 2 4 6 Duplicate Channel sss sss ss esse ees eee eee 2 20 3 1 Busses and Outputs css sss esse ee neee eenn eee 3 1 1 Buss Outputs Display sssss sss ss esse seene 3 3 3 1 2 Expanding the Buss Output View sss sss ss sese ee ecce eee e seene 3 3 3 2 Output and Buss Controls sss ss sssss ess eee eee eee K BK I 3 4 3 2 2 Buss Control Button ssss sss sss ss eee esen eee 3 4 3 2 3 Level Trim es sss sss esse sese eee eee eee 3 5 3 2 4 LIMITET TTT 3 5 De 8 THT 3 5 3 2 60 Meters css ses sees eee eee eee 3 5 3 2 7 Output Channel Routing sss sss sss sss sss esse ese seene eee 3 6 3 2 8 Stem Signal Order sss sss essen 3 6 3 2 9 Analogue Output Level Selection ccccceseeeceeeeeeeeeeeeeeeeneees 3 7 3 2 10 Buss Signals as Input Sources cesses sees eee cece eee essen eee 3 7 KN kH Tele 3 3 212 eit OUE NIN TH 3 7 4 1 Master Section cccececececececececececececeeeeeceeeneaeeeeeeeacaceceeeceeeauaueuauaeaees 4 1 1 The Master Screen ccs sss s sse sees eee eee eee 4 3 4 1 2 The Menu Buttons css sss ss sss sss ees ee seene eee E 4 1 3 Console Security Settings se sss ses esec e sees ecce e eee eee 4 5 4 1 4 Consoles and Racks css sss sss ees eee eee 4 5 4 2 Configuring the Console ss sss ss sss esse esse eee enen neee 4 2 1 Sessions Menu cssss esse sss s esec eee eee eee 4 6 4 2 2 The New S
127. ll as adding input channels in this way you can also add aux and output group masters by touching the relevant row of busses on the Master screen to assign the group faders then touching the fader for the buss you want to assign to the Control Group Remember that the current assignment of the Master section faders is indicated by a different background on the Master screen A list of all the connected channels and their names is displayed above each Control Group display as shown above The default display in the illustration can show a limited number channels but you can touch the on screen list to expand it and touch it again to return it to normal size To disconnect a channel from the Control Group with the Control Group s Touch Faders button depressed touch the channel fader again You can also clear all the channels from a Control Group by pressing Clear 4 5 2 Naming Control Groups s ssss sss s cesses sese sees enesenn eee Like inputs or busses Control Groups can be named by touching the name display on the screen default CG1 CG2 etc and typing a new name onthe console keyboard 4 5 3 Adjusting Control Group Channels Independently When a channel is a member of a Control Group its own controls can still be adjusted independently of the other Group members Adjustments to fader levels are transmitted to the Group members as dB changes so that a level increase of 2dB on the Group fader will increase all the member leve
128. ls by 2dB irrespective of the relative levels of the individual channel faders 4 5 4 Control Group Modes cesses sss sss essen Successive presses of the Mode button above the control group s label changes the way the control group functions There are 3 modes Moving Default The control group fader controls the levels of its members and their faders move accordingly VCA The control group fader controls the level of an input channel without moving the channels fader An additional gain stage immediately after the input fader follows the control group fader s dB level and the input fader is unaffected This post fader gain is applied before any post fader feeds to auxes group busses or direct outputs Mutes Only mutes are controlled by the control group not fader levels ff S 4 15 Chapter 4 4 6 Snapshots Any number of Snapshots of the entire current console settings can be stored and recalled using the Snapshots panel This is only limited by system memory These Snapshots can be absolute or relative to another snapshot The scope of the snapshot can be set by controller or by input channel To display the Snapshots panel touch the Snapshots button at the top of the Master Screen Worksurface controls can be found to the right of the Master Screen Inserts new snapshot after Opens snapshot scope panel wl current Highlighted snapshot 4 Opens snapshot timing panel P Makes current Hi
129. ly 1 Open the System Service menu 2 Press the Configure Hardware button the DSOO software will close and DiGiConfig will open 3 Press the relevant buttons for all the consoles that you wish to configure in the example a single FOH Main console is selected Press the This One button to select the console that you are working on 4 This will apply the correct configuration but the details can be further edited by pressing the Edit Details button 5 Press OK to return to DSOO software System Sessions Layout Automation Snapshots Bus Control v 7 v Outputs Groups Service F11 Restart F12 Reset Reset Reset Configure Quit to S _ P Engine Surface Timecode Racks Hardware Windows ra kd N vd Z N AFL AFL AFL MUTE MUTE MUTE Security fg over over over LIMITR LIMITR LIMITR vd vd Consoles A s amp Racks Es AFL AFL AFL SHUT Oscillator DOWN DiGiConfig 3 7 B 16 xi onsole Type DS 00 F ean Console Configuration Press each button that applies to the current console network and select one of them as this console FRONT OF HOUSE MONITORS consoles present this one consoles present this one FOH Main MON Main P Y 2 or 6 S Redundant Engine D57TC AC Remote PC OR Standalone PC Edit paa X Cancel a DiGiConfig 3 7 EE 191 5 ongle Ei DS 00 Fle CADS OO 0SONIN Console Configuratio
130. m 20Hz 20KHz HPF and 200HZz to 20KHz LPF Note The Hi and Lo Pass Filters are positioned pre processing and therefore they will be unavailable to any internally gener ated signal such as the test noise These internally generated signals consist of 1 Any signal in the Misc signal group Talkback Mics Test Tone and Noise 2 Group or Aux Buss results labelled with a eg Aux L 3 Internal FX Returns any signal from the Effects input signal group which is used b 2 2 3 Dynamics Module gacticcevecccextctnsecaet nccdoceadeaunteaxveandonecudeusecoancene The Dynamics Module on each channel incorporates a Compressor and Gate and also includes optional Filters for the sidechain and key signals You can display the Dynamics Module by touching the dynamics display on the channel strip Touching the In Out buttons will switch the section On or Off When expanded the Dynamics Module appears across the bottom of the screen and its settings are changed using the corresponding controls below the display Compressor Controls Gate Controls dynamics Compressor The Threshold is the level at which the compression begins to affect the signal For example if you set the Threshold to 12dB this means that the compressor has no effect until the signal level exceeds 12dB The Attack time is the time taken for the attenuation to reach the desired level after an increase in the level of the input signal The Decay time is the tim
131. m This means that the overall level remains the same on both consoles when the Analogue Gain is adjusted Gain Track Off Gain Track On Analogue Gain Digital Trim and Digital Trim compensates for independent changes in Analogue Gain If the system has been defined as consisting of more than one console the Consoles amp Racks panel will automatically open on boot up or load session The panel can also be opened from the System menu Gain Tracking must be activated by pressing the Enable Gain Tracking button at the bottom of the Consoles and Racks panel Multi Console amp Rack Connections THIS CONSOLE Full Connect Full Connect Listen to Enable copied MADI Lap W Close The initial state will have no connection between the devices and the racks Isolated and the panel appears in order to prompt the operator to make the necessary connections In this state any gain adjustments made on the console will have no effect as the racks will not be receiving any data If you go to Receive Only then Full Connect you can join the rack sharing without making any gain changes If you are responsible for the analogue gains it is likely that you will want to go straight to Full Connect after load session or boot up Options are Isolate where the console will not communicate with the racks and therefore any adjustment of input gain or 48V switch will have no effect on the rack settings ethernet connected _
132. n Hardware Expecte Locally Installed l Audio Engine Overview Scree IZ Connected Audio Engine Option IZ On Board Fs Processing Channels M TH al H ree al 9 pin Tracks to arm a8 al GPI Script file GPI txt Edit Fader Start threshold E hysteresis 2 al fe 48k Defautskt C ag Sockets file Default skt Edit ZT dl m m System Access L ID 20 ho Password Slave cards p MADI cards E Input surfaces E U GPI cards GPI port fo Relay port fo al IZ Timecode W WorkSurlace 1 2 Connected lT Copyto MAD DOT Surround Signal Orde E PT LERS LER 5 5 1 LCBSL SP 8 m E IF address Console Rig Pel IL LEC ACA SL SR B Change not available Restore x Cancel a L la a T 6 Chapter 1 1 3 Getting Started Input Section Input Gain and Phase Channel Meter Status 4 Band Parametric EQ KAKAK ay EJ Undo Redo Button Aux Pan Dynamics Controls Dynamics Thresholds and On Off Automation Rec Play Switches reje ABS BB BE BEBE Be Mute and Solo Switches Joystick C Channel Faders Channel Fader Banks Master Section USB Data Port om a S e Master Meter Status Macro Buttons e E S E T CILAN Studio Feeds Phones Talkback Snapshots Automation Controls Input Assign a L Touch and Turn Locators Transport and Talkback Output Control Group Controls Monitor Matrix Input Channel 1 6 SOUNDTRAC
133. n ito fire snapshot MIDI nn Tire MIDI patch Relay nn ON OFF switch ext relay Bank nn channel seq Bank 12 lt 89 Last control ID read control ID value eg 1 1 3 1 255 4 1 3 2 ch01 mute value U chI mute m macros If you require the Macro to include functions other than standard controllers then the following messages can be manually typed into the message boxes Note Anything after a semi colon on each line is ignored as are any commands which are not understood Macro Commands n1 n2 n3 n4 value Four 1 byte numbers 0 to 255 separated by dots identifies a unique controller on the console See the GPI Scripts section in DS 00Setup rtf for a table of numbers Value is 0 to 255 for faders and rotaries 0 off or 255 on for switches Snapshot n nn or Cue n nn The snapshot numbered n nn eg 1 00 is usually the first in the current snapshot list is fired if it exists PREV and NEXT are not recognised in Macros since separate buttons exist on the master worksurface MIDI nn The MIDI Patch number nn in the current MIDI Patches list is fired if it exists Load string The Load Session command is invoked to load the session file named in string Save string The Save Session command is invoked to save the session in a file named in string Shutdown The Shutdown command is invoked from the System Menu bypassing the confirm stage to terminate the console software and operating system The
134. n will locate that point Existing locate points can be changed by touching the Edit button and entering new data 4 30 SOUNMTeACS Chapter 4 The locate points which appear on the list can be assigned to any of the five worksurface locator buttons by touching the required point on the list touching the Assign button and then pressing the required locate button on the worksurface All current assignments are displayed next to the time in the locate point list You can also Rename entries in the usual way Pressing the Delete button will open a small panel which allows a selected range or all locator points to be deleted Press Select Range choose the relevant locators from the list and then press delete or press Delete All and then delete Select range If the RTZ To Rewind Play is pressed the RTZ button on the console worksurface switches from being an ordinary locate to rewinding a number of seconds and then playing The rewind time can be set between 1 and 99 seconds Transport Control Tally When you are controlling external machines and you press a Locate or Transport button the button will begin flashing It continues flashing until the console receives confirmation back from the controlled device that it has successfully executed the command this confirmation message is called a Tally The Sony 9 pin control protocol supports specific Tally signals but if you are using MIDI Machine Control and reading timecode from the
135. napshot The first Snapshot must always be a Master Snapshot To store a Relative Snapshot you must first create a second Master Snapshot and this can then be changed to Relative by making it current highlighted and pressing the Relative button The details of the snapshot should then be shown in red Once the Relative button is pressed all subsequent snapshots will also be Relative until you choose to change them All snapshots with the exception of the first Master Snapshot may be made Relatives or Masters at any time 4 6 3 Recalling a SnapShot css sssss sss sses sese eee To recall a snapshot simply touch the snapshot button you require The button will then remain highlighted until the next snapshot is recalled Alternatively the buttons on the Worksurface on the right of the screen provide Previous and Next buttons to fire the relevant snapshot named in the panel listing The Undo button is only enabled if the Enable Undo option button is pressed on the screen Snapshotfiring can also be controlled by specific events on MIDI channel 16 See Snapshots and MIDI 4 6 4 Replacing a SnapShot sss sss sese sese eee enen e To update or change a snapshot set the console controls as required and then touch the Replace button followed by the snapshot that you wish to amend A dialogue box will appear asking you to confirm the action There is also a button with an option to Replace Current snapshot and this can be used to replace the last snapsh
136. nd Mirroring A 2 1 Redundant Optical LOOP cs sss sss sss esse s sese If an additional Optocore cable is connected to complete the loop between all connected devices the redundant cable will ensure that a single break in the Optocore connection will not result in a loss of function This applies in single or multiple console operation A 2 2 Redundant Mirror Console or Engine scccesseeeseeees The following information refers to a Redundant Mirror Console but the setup for a Redundant Engine is identical The significant difference between the two situations is that a Redundant Engine only provides console control using a conventional computer monitor and a keyboard with trackball With a Redundant Console full worksurface control is possible The Mirror console is normally connected to the console and stage racks with optical fibre cables and two 5 metre BNC MADI cables are connected to the auxiliary MADI port on the local Rack An Ethernet Crossover cable not a standard CAT5 cable is also connected between the Main console and Mirror consoles or both devices are connected to an Ethernet switch if some form of Remote control is also used with the system eg a Remote PC running the console software In the unlikely event that the Main console s audio engine fails audio is automatically switched to the Mirror console without any interrup tionin the program material The Mirror console can be set to mirror the Main console s
137. nd type a description of the session if required 6 Touch the Save button in the bottom right of the panel to save the session file Note If you touch a session name on the existing list this name will automatically be selected as the new file name and touching Save will overwrite the old file Save Hew Session New Filename llastsess 7 Session Title Tern late Session war P 5 Back Groupe Aux File Date Ti Tithe Up SR Mode Mo St Su Mo St internal Shae 1 3 7 Save Session ccs cc c ee eean aeaaaee aea This button which is found above the Save As New File button will save the existing session in the same location and under the same file name as it was previously saved or loaded from It therefore serves as a Quick Save option to update an existing session Remember that this function will overwrite your last saved version If you wish to save the session under a new name use the Sessions menu button and select Save As New File See above 1 14 SOUNDTRARACS Chapter 1 The EQ section comprises four user configurable parametric filters and a pair of swept High pass and Low pass filters The EQ is accessed by touching the on screen display to Assign the channel the colour changes to orange and then using the controls on the right hand side of the input module When acontrol is adjusted the expanded view seen below appears in the input screen but this view can be seen at any time by touching the
138. ndex Index Symbols 3 band compression 6 7 9 pin 4 31 9 pin Eavesdrop 4 31 A ADAT DigitalSync 4 34 Adding and Removing Channels 4 15 AES EBU 4 33 AFL 4 11 6 15 ALL Button 2 15 All Channels 4 19 All Offline Button 4 32 Analogue Output Level Selection 3 7 Apply To All Listed 5 6 Apply to Selected 5 6 Assigning a Channel 2 4 Assignment Options 4 12 Auto Null on Release 5 3 Auto Null Time 5 3 Auto PFL 6 15 automatically expand EQ view when adjusted 4 4 Automation Editor 5 9 Automation Editor Section Scaling the Display 5 10 Automation Mode 5 13 Automation Options 5 3 Autosave 4 9 Aux Pre Post 2 12 Auxiliaries 1 16 2 11 Auxiliary Buss Control 3 5 B Backstop PFL 6 14 Block Edit 5 5 Broadcast Options 6 12 Buss Control 3 4 Buss Outputs Display 3 3 Buss Signals as Input Sources 3 7 C Calibrate 4 25 Capture 5 5 Capture Start Time On Play 5 3 Channel Assignment 2 3 Channel Bank Assign 2 19 Channel Banks 2 18 Channel Display 5 9 Channel Label 2 5 Channel Overview 2 17 Channel Presets 2 7 Channel Scope 4 19 Channel Sends 7 4 Channel Status Indicators 5 9 Clear All 3 4 Clear Assignment 2 19 Clear Track 5 16 Clearing Settings 4 7 Close Gap 5 5 Compressor 2 9 Configure Effects 6 3 Configuring Sources 4 26 Connect All 3 4 Console Security 1 8 4 5 Consoles amp Racks A 5 Control Change 4 22 5 8 Control Groups 1 17 4 15 Control Groups and Automation 5 9 Control Room Dim Level 4 4 Con
139. nections In this state any gain adjustments made on the console will have no effect as the racks will not be receiving any data The console s MASTER Audio Outputs Active button will normally be highlighted in orange to show that it is the master responsible for audio processing at this time The same button on the other consoles in the system should not be highlighted at all The MADI Rack s connect states Receive Only and Full Connect are enabled disabled and set according to the Audio Master active state an inactive engine cannot output to a MADI rack Multi Console amp Rack Connections Multi Console amp Rack Connections THIS CONSOLE THIS CONSOLE MASTER Audio Outputs Active ethernet ethernet connected connected Sync Session Sync Session MIRRORED MIRRORED camel fing 700 eae Main Console Redundant Engine Mirror Console or Remote To enable control of the DiGiRacks press the Full Connect buttons for the Optocore and MADI racks You will then be required to confirm the action the session settings will be sent to the racks and the console will have full control over them If you have a system where more than one console is sharing the racks you may wish to use the Receive Only mode where the console will receive the rack s existing settings but will not be able to control the gain on the racks Options are Isolate where the console will not communicate with the racks and therefore any adjustment of inp
140. nly data such as timecode a small numeric keypad will appear This is intended as an alternative to using the computer keyboard itself eee Fed EN id Bed FE EB BB Show System Status Indicators activates on screen information concerning the system This will appear in the bottom right hand corner of the Master Screen and there is a further option to Display System Alerts Show aux and fader dB Pop up Readouts activates yellow boxes which pop up showing the Auxiliary send and fader dB displays These may optionally show figures Rounded to whole dBs If the automatically expand EQ view when adjusted button is pressed the adjustment of any EQ control will activate the expanded EQ view 4 4 SOUNMTEACS Chapter 4 4 1 3 Console Security Settings css sss s sese sees sees sese enesenn The console has 3 modes of security which dictate the types of operation that can be performed The Setup mode is essential if you wish to access all the console operations but when the basic setup is complete you may wish to switch to Live mode which only enables changes to controllers and not routing reconfiguring or labelling This may prevent accidental changes to the basic setup For total security the Unattended mode locks the console completely and all operations are disabled This state can only be changed by typing a password the standard password is DSOO Console Security amp Network SETUP All operations enabled LIVE Controller c
141. nnel and then touch the relevant M button at the bottom of the output socketlist Then select an output socket for the signal In the example below the mix minus signal is routed to an output socket called Line 1 and because it has been fed from the Phone In channel the Phone In signal has been removed a EEL 9 EEA ESE IDE Chapter 6 6 6 5 Talk To Direct Send and Direct Send Gain cecse00ss The Direct Send Gain and Talk to Direct Send controls are accessed by scrolling down through the auxiliaries and past the pan control The relevant worksurface rotary and switch can be used to access these controls in the normal way The Direct Send Gain duplicates the control at the bottom of the Directs routing panel and allows quick access to the direct output level adjustment The Talk to Direct Send button routes the Local Talkback microphone to that channel s direct output When it is pressed and held the talkback signal cuts the normal output signal When it is released the direct output signal returns to normal 6 6 6 Solo Options 6 6 ACKS1O0 PFL sossen raa EREE To activate this function touch the Backstop PFL button in the Setup Options Solo panel It is a global function which applies to all inputchannels When a channel fader is held against the backstop that channel will be soloed automatically and when it is released the solo will go off The threshold level for the backstop can be set in the DSOO ini fil
142. ns open after the signal level has dropped below threshold The Range control sets the maximum amount of signal attenuation implemented by the Gate when it is closed ie when the signal level is below threshold A Range setting of OdB means that the Gate has no effect while a Range setting of 30dB means that all signal levels below threshold will be attenuated by 30dB The Meter provides a constant indication of the Gate attenuation If the Gate is fully open the meter shows full deflection indicating OdB attenuation If the Gate is fully closed and the Decay and Hold times have passed the meter shows the amount of attenuation set by the Range control The Gate Key button allows you to select the signal used to trigger the Gate The default setting is Self where the level of the channel s own signal is used as the trigger but you can use this switch choose a different channel or buss Pressing the Gate Key button in the Dynamics panel displays a routing panel from which to select a key source All input signals and buss results are listed as well as input channel post processed signals Note The Signal Group labelled Channels contains the post processed signals Gate Key signals use the channel send resource just like direct output and insert sends This resource is limited to 96 channels and when all 96 are used up other channels listed will be greyed out The state of channel send resources is displayed on the diagnostics panel Note When th
143. ntrollers EXCLUDES FX configuration Presets Auxes Aux buss outputs all controllers and label Groups Group buss outputs all controllers and label Main Master buss outputs all controllers and label Routing Input Channel input routing label analogue gain and 48v switch Inserts Input channel send and return routes send gain 10dB pre post switch and insert in out If Buss Controllers are included in the scope this also includes buss inserts Directs Input channel send route send gain 10dB and pre post switch Out If Buss Controllers are included in the scope this includes the relevant buss output routing and 10dB switch Misc CG Members Control Group label and a complete list of each group s members CG Faders Control Group faders only Gangs Input channel gang members DOS CO 419 Chapter 4 Banks Each snapshot stores the current assignment for all controllers on the worksurface Fader banks currently assigned to input surfaces but not the names of these banks Which channel on each surface is assigned to EQ Dynamics Joystick controls Which rows of pans or auxes are assigned to rotaries The Master Fader Banks assignment Note Banks are not intended to reproduce the exact screen states Channel views and other panels visibilities are not stored or recalled MIDI Fires the MIDI Patch associated with the cue Relays The sixteen red indicators below the Relay scope button repre
144. ntrollers on all the console channels safe if they are included in the Safe Scope The safe button next to each console section name eg Inputs will perform a similar function on the controllers and channels in that section The safe button next to the channel label eg 01 will make all the controllers in one channel safe As well as switching the safe status of all the controllers in the safe scope these global section or channel buttons indicate whether none dark some dim or all bright of the controllers in the safe scope are safe In addition the text on the button will appear blue rather than black or white if any controller is safe but not in the safe scope These colours are also used on fader mute safe buttons when the fader and mute safe states or scope states are different Global Safe Button Inputs Safe Button Channel Safe Button S L lal R a 5 13 Chapter 5 Colour coding for Global Safe buttons If only controllers in Safe Scope are Safe None Safe White text on dark blue background Some Safe White text on mid blue background All Safe Black text on bright blue background If some controllers are Safe but not in Safe Scope None Safe Blue texton dark blue background Some Safe Blue text on mid blue background All Safe Blue text on bright blue background Pressing the Touch Faders to Safe Unsafe button allows a whole channel to be switched safe or not by touching the channel fader Thi
145. numbered channels but the channel numbers are greyed out The greyed out number indicates that the channel is unavailable This is a normal console function which occurs when you have one or more channels set to stereo mode or some of your group busses are routed directly to the Main buss The number of console processing channels ts fixed so by setting one to stereo you are actually using a second one as well Routing a group buss directly to the Main buss uses the same number of channels as there are buss Signals eg 2 for a stereo buss or 6 for a 5 1 buss The highest numbered unused channels are taken first am trying to route to specific output socket but it appears to be greyed out in the socket list This indicates that the output is already being used Touching the greyed out name will show a message to indicate what it is being used for If the message says that the socket is not in use but cannot be used for the first left signal of this channel you may be trying to route a stereo or surround buss but there are not enough consecutive output sockets available For example R RETURN T Stereo Group 1 is routed to Lines 3 and 4 but Line 2 appears greyed out as well A stereo buss cannot be routed to Lines 2 and 3 as Line 3 is already in use It can however be routed to Lines 1 and 2 If you were routing a mono buss Line 2 would be available fi H d 7 3 Chapter 7 The console has crashed but when it
146. o to adjust settings for the Control Group members Touch Faders Touch Faders to Join Leave i 0 Joins to Join Leave 7 Moving Moving Moving Moving Moving Mode oving Touch Faders to Join Leave A list of all the connected channels and their names is displayed above each Control Group display as shown above When a fader is touched it is highlighted in the list Note The list of members of the Control Group can be expanded by touching the screen area just above the Clear button You can also clear all the channels from a Control Group by pressing Clear When a channel is a member of a Control Group its own controls can still be adjusted independently of the other Group members Adjustments to fader levels are transmitted to the Group members as dB changes so that a level increase of 2dB on the Group fader will increase all the member levels by 2dB irrespective of the relative levels of the individual channel faders tote MOKO esenitcteueceenice cnc E E ma COnRTGL reim Control Room Level monitor matrix Source Select Switches tape all Monitor Select Switches Buss all a La j Toggle Sources Buttons twe toggles Configuring Monitors Press the Monitor Matrix button at the top of the Master Screen The column of buttons marked Monitor CR1 CR2 and CR3 are assigned to the Output Switches in the Master Section of the console worksurface and can also be selected on this pa
147. oles should have Optocore selected in their Setup Audio Sync panels 5 xj Console Configuration Session Control v Files vv Groups Preece euch ution That apple ho they cumani corrals rahami anal selci ores of Ger at thee carle FROMT OF HOUSE MOMIT ORS i re lt A R rm _ 3 Z fed ro pS Tey AC o i K Consoles amp Racks Appendix A The following configuration details will have been created FOH Console Details Monitor Console Details 51x lolx Console Type D5 Live Console Type DS Live a Fie CADS DSNI Console Configuration a lt cerai Console Configuration gt Hardware Expecte Audio Engine Options Overview Screen Hardware Expecte Audio Engine Options Overview Screen re Gs 5 p V On Board F V Connected ec ai V On Board FX IV Connected y A V x s bilang aliis El J Processing Channels Ww eoo glais a E J Processing Channels Ww eoo IV Timecode MADI cards p V Timecode MADI cards 23 H feos S H feos S IV WorkSurface Input surfaces 23 3 pin Tracks to arm fas V WorkSurface Input surfaces p 9 pin Tracks to arm 48 o GPI cards GPI port 0 2 GPI Script file Edit 0 4 GPI cards GPI port 0 2 pj Relay cards Relay port jo Fader Start threshold 6 hysteresis p O Relay cards Relay port jo L R f Ji Sockets file D5 112EX skt Edit none 2 var Sockets file D5 112EX skt Edit GPI S
148. oll through lists using the All button For example if you wanted to select several input sources from the same group holding All and pressing the scroll arrow on one channel would scroll the adjacent channels as well In the Routing window holding the All button will also allow you to perform the following tasks 1 Selecting Group or Direct routing for all the channels in the bank 2 Scrolling Up and Down through lists 3 Routing Input sources to consecutive channels without making them part of a gang 4 Routing all channels in a bank to the same group by holding all and routing the first one 5 Routing all the channels in a bank to consecutive direct outputs by holding all and routing the first one NOTE In examples 3 4 and 5 the functions are limited to consecutive channels in the same view mode 2 2 7 Undo Redo Button css ss sss sss eena While a channel is assigned to the EQ Dynamics Joystick controls the Undo Redo LED comes on when a control is changed and pressing the button toggles between the new state and the state when assigned The controls affected by the undo function are input gain phase and delay all EQ and dynamics all aux send levels on off buttons and pans the insert and the main pan for the channel It does not include any routing buttons 2 3 Ganging Ganging is the linking of input channel controls which will allow most types of adjustment made to one channel within the gang to be automatically made to all of
149. ols that are in record update mode when the transportis stopped Therefore any automation which was previously written between these markers will be erased This button is set to Off by default See section 5 2 10 Write to Start and End Capture Start Time On Play capture on play This button is also accessible on the console worksurface and if pressed will always save the last automation play position as the Write To Start marker This enables the user to quickly write automation back to the last start position See section 5 2 10 Write to Start and End Touch Record and Auto Nulling If you have selected the option for Touch Record you can adjust a channel control directly from play mode Unless a channel is made Safe see section 5 1 6 you can update the automation information for the channel simply by adjusting one of its controls As soon as you alter a control or touch the channel fader the channel s Record light comes on in addition to the Play light and the new level for the control is stored by the automation system This mode where both lights are lit is called Update Mode If you have selected Auto Nulling when you have made the adjustment you want pressing the Play button for the channel will force the control s you have adjusted to auto null smoothly back to their value in the original mix taking a user definable nulling time to do so While auto nulling is in progress the Play light flashes and when the au
150. om the list that you wish to Mirror from the D5 in this example 2 Select FROM other console and Mirror Now and then press OK When the process is complete the MIRRORED Button will be highlighted in orange as seen below There will also be a pop up message to confirm that mirroring has taken place If you have other devices in your system such as a Remote Controller then this process should be repeated on each device always transferring sockets syncing sessions and mirroring From the Main console Multi Console amp Rack Connections THIS CONSOLE ethernet connected A 2 5 DiGiRack Control c ccccececsceceecececscecccencecececeeeeeeeaeaneaeneaeess Multi Console amp Rack Connections THIS CONSOLE THIS CONSOLE MASTER Audio Outputs Active ethernet connected Receive On Full Connect Full Connect Full Connect Full Connect MIRRORED MIRRORED Listen to Enabl A copied fl 7 Close coped MADN Lp S ciose Main Console Redundant Engine Mirror Console or Remote If the system has been defined as consisting of more than one device the Consoles amp Racks panel will automatically open on boot up or load session This panel can also be opened from the System menu If the Ethernet crossover cable or Ethernet switch has been connected then the Ethernet Connected line should show a green OK light and not a red cross The initial state will have no connection between the devices Independen
151. on In Play mode the channel settings are controlled by the automation system which replays the settings you have previously recorded Once you have done a first pass all relevant channels are switched automatically into Play mode but you can select Play mode at any time by pressing a channel s Play button 5 2 SOUNMITEACS Chapter 5 5 1 5 Automation Options sss sss sese ecce s eee eee eee In Play mode the exact behaviour of the console controls depends on the settings you have selected in the Automation Options panel on the Master screen To see this panel touch the Automation Automation Options button Automation Uptions Release on STOP Capture start tin 7 onPLAY The top row of buttons affect all the console controls and the second row affect only the faders Switch Rec to Play On Stop By default this button is pressed highlighted and therefore when the transport Stop button is pressed all controllers are switched back to Automation Play mode If the function is disabled not highlighted it is necessary to switch all controllers out of Record mode manually whenever transport Stop is pressed However this would also mean that Write to Start or End Markers will remain enabled after the transport is stopped See section 5 2 10 Write to Start and End Write to Start End On Stop If this button is pressed automation will always be written between the Write to Start and End markers for contr
152. ono Stereo LCRS etc Touching the Signal Group buttons will show the separate legs of each buss and these signals can then be selected as inputs in the normal way These signals are labelled with a to indicate that they are buss results and are therefore subject to delays 32 kR Tels e You may send any buss output or input source signal to the console s headphone socket by selecting headphones from the output routing sockets list The Headphone Left and Right option can be found in a socket group labelled Misc 3 2 12 Qutput insert essensen aiaa In the buss master routing panel there is an Output Insert facility that can be used to route signals to effects and processing This is particularly useful if you wish to use outboard processors on the output of a buss In this situation the output should be routed to its normal destination but it will be diverted through the Send and Return for processing Touch the Send button and select the input to the required processor then touch the Return button and select the output from the same unit Then touch the Output Insert button to switch it on CJ la T 3 7 Chapter 3 3 8 SOUNMTE ACS Chapter 4 Chapter 4 Master Section ff S a Chapter 4 4 2 SOUNMTE ACS Chapter 4 4 1 Master Section The Master section of the DS 00 console includes the output controls described in the previous chapter and the meter bridge above it USB Data Port Gia L Mas
153. or during the use of the Trim panel Faders which are to be trimmed can be selected by pressing the Touch Faders to Select button and touching to add them to the list Once a fader is on the list an amount of trim can be entered by moving the fader itself or selecting the list entry and entering a value in the Trim box The value will also appear in the Trim dB column on the fader list These changes can then be auditioned by playing the mix with the Trim Panel still open and further adjustments made If you wish to make the changes permanent select From and To timecode positions by entering values into the relevant boxes or pressing the appropriate Capture button Positions may also be set with the Entire Mix button or by entering a value in the From box and then pressing either the To Start or To End buttons Then the trim can be recorded to either the selected fader on the list with the Apply to Selected button or to all the faders on the list with the Apply To All Listed button Pressing the All Faders button selects all faders whose automation mode is Play Trim or Trim Ready Then all the selected faders can be trimmed by adjusting any one of them However no trim can be applied unless the fader is in Trim or Ready mode If the fader is in Play mode it will only switch automatically to Trim or Ready mode if Touch Record is enabled In other words all faders must be in Trim or Ready mode for the All Faders option to be effective 5 6
154. ot that was fired Pressing the Replace button on the console worksurface twice will replace the current Snapshot 4 6 5 Update Master csssssssssssssssssneeee seene The Update Master button can be pressed at any time when the current highlighted button is Relative This will copy the current console settings into the Relative Snapshot s Master but subtract the relative values from it first Therefore if you are working in a Relative Snapshot and realise that the changes you are making need to be applied to the other Relatives as well you can immediately press Update Master even though the Master is not the current snapshot 4 6 6 Editing Multiple Snapshots sss sese sss ss esse ese eee enen Individual controller changes can be written to several snapshots simultaneously using the Edit button This does not replace the complete snapshot associated with the button When the Edit button is pressed a panel pops up allowing All a Range or individual Snapshots to be selected by pressing their buttons If you press the Select Range button touching the first and last snapshots in a range will automatically select all the snapshots in that range Snapshots Fi Insert 2 00 Second da Tria Relative pa Enable Unda 2 fr delay Replace 4m Curr control by duration as control by automation Rec TT Z Play ii control by midi Fire Prey Fire Hest Delet Touch BIELE Selected snapshots will record changes
155. p Le OT as 431 Chapter 4 cable you can make the console listen to the timecode passing between two other machines and to sync to and display this timecode on the worksurface Note that if you are using 9 pin Eavesdrop mode you cannot use any of the options for direct 9 pin connection Timecode Output Enable Whether the console is operating as timecode master or deriving its timecode from another device you can choose to route a timecode signal out from the MIDI MTC and or SMPTE LTC sockets If timecode is being received from another device it is regenerated before being routed to the output Machine Control Enable The console s Transport buttons only send Control signals if you have enabled a Machine Control output This can be MIDI Machine Control MMC and or 9 pin Direct Note that you cannot output 9 pin control if you are using the Eavesdrop option to read timecode MIDI Machine Control has limited transport features supporting only the Play Record FF Rewind Stop and Locate functions 9 pin control supports Shuttle and Jog functions Off line Buttons The configuration panel allows you to temporarily disable all timecode and transport control to any combination of outputs The ALL button disables all timecode and machine control output this is especially useful when using the Jog and Shuttle controls to prevent external machines trying to chase the console timecode Each Off line Option also has its own switch so
156. rable parametric filters There is also a pair of swept High pass and Low pass filters If the EQ module is not expanded the EQ can be switched On or Off with the In Out button above the EQ graph To expand the EQ Module for a channel first select the channel then touch the channel s EQ graph To hide the module again touch the expanded EQ graph Note The EQ panel can be expanded automatically when an EQ control is adjusted by setting System Menu System Options 2 8 system Options Save session automatically every Z 10 al minutes 0 no automatic save Z Control Room Dim Level ra 20 a dB B Use on screen touch keyboard Alphanumeric Nurerie ony Shaw system status indicators Display system alerts Show aix amp fader dB pop up readouts Hour to whole dD S Automatically expand EQ view when adjusted wP Clase Filter Centre Frequencies Response Graph HAT S e N routing eq automation Preset Selector Parametric 1 Yellow Curve Select for Parametric 1 Parametric 2 Blue EQ In Out Parametric 3 Green Curve Select for Parametric 4 Parametric 4 Red a Lopass In Out Hipass Lopass Filters pes Hipass In Out SOUNDTRACS Chapter 2 When expanded the EQ Module shows the filter settings in detail using a different colour for each filter The In Out switch and indicator for the EQ module is located in the centre When the EQ module is visible the EQ
157. raeansaeneneess The Aux Send and Pan controls are always operated using the Lower Row of rotaries below each channel of the on screen display There are only two rotaries and switches for each channel but these can be assigned to any Aux or Pan control using the Screen Scroll buttons at the left end or by touching the on screen control that you wish to adjust The current assignment of the controls is indicated by a highlight on the screen To expand the display to show more auxiliaries on screen touch the highlighted control Toreturn to the standard view touch the highlighted control again Note Holding the All button on the worksurface and touching the highlighted control will expand the view for all the channels in the relevant bank lines e pe ol a BB BB m2 EA EA EH I EB EA EA EH Aux Sends Aux On Off and Pre Post Aux Sends Aux On Off and Pre Post Screen Scroll The Pan Aux controls and scroll buttons operate in exactly the same way in both the Standard and the Expanded view Auxiliaries The console can support up to 28 Mono or 18 Stereo Auxiliaries depending on the availability of bussing resources Auxiliaries can be mono or stereo and stereo Auxiliaries have a Pan control as well as the normal Send Level control The Aux send rotaries below the screen operate differently depending on the Aux format For mono Aux sends each row of rotaries controls a different send level but for a stereo Aux send th
158. rall operating level from this point onwards oS ooS d Appendix A If the analogue gains need to be changed only the console that is in Full Connect will be able to do this but the second console will be not be affected by these changes as it has its Gain Tracking switched on b Both operators want to be able to control the analogue gain on the racks 1 One console should fully connect to the racks using the System Consoles and Racks panel s Full Connect button for the Optocore racks 2 The operators should agree on and seta level of analogue gain that provides enough headroom for the required application 3 The second console should connect to the racks in Receive Only mode to ensure that it doesn t send its own current gain levels to the racks This console may then do a Full Connect to the racks 4 With both consoles in Full Connect Gain Tracking should be switched on for both consoles for all the channels that are being shared 5 If either operator changes the analogue gain there will be no overall level change on either console as the digital trims will always compensate for the change in analogue gain Note If either operator wishes to change the analogue gain and not have their own console s digital trim compensating they should temporarily switch off Gain Tracking on the required channel make the gain change and then switch gain tracking back on again A 1 3 Gain Tracking and Snapshots c ccccsesseeeeeee
159. ransport Stop when the Play To time is reached If Play To and Locate To are specified together in one snapshot when the PlayTo time is reached a Locate will be generated after the Transport Stop If Locate To is specified on its own it simply does the Locate Any manual transport control cancels any pending Stops or Locates SEQUENCING amp TIMECODE Snapshots hr min sec fr nee Step Duration asas S at Relative a 00 00 08 00 gt Timing Enable Undo 2 fr delay Undo Replace 00 00 00 00 ta pair control by Sere duration auto Sequence Edit S K howe gt Rename contral by il Renumber Preview Ea 1 00 Kala e SIT me oR ne ee mantel to Fire A Yy had 4 6 16 Snapshot Crossfades cesse sss esse seene eee A crossfade time which is measured in frames can be applied to a Snapshot by adjusting the Crossfade value in the Snapshot Timing Either use the Up Down arrows or type a value into the box The Crossfade time is applied to faders and pans only including sub level and divergence A value of zero switches it off Fire Next After Timecode Control control by automation 00 00 00 00 cor E il ll SS Crossfade Time sar ii 4 20 SOUNDTAACS Chapter 4 4 6 17 Snapshots and MIDI esse eee There are two separate areas of MIDI control 1 Asnapshot can have a MIDI Patch attached to it and will output that MIDI when f
160. re are eight Control Room source buttons T1 to T4 and B1 to B4 allowing the connection of up to eight sets of signal sources which operate independently of the main console structure When one or more of the sources is selected the Main buss is disconnected from the Control Room Outputs and is replaced by the selected source s Two All buttons are also provided which when pressed control sources T1 to T4 Tape All or B1 to B4 Buss All together These sources are defined in the Control Room panel 4 7 6 The Monitor Matrix ccccccececcececcccccccencsccnceneneecsneneeneaeanenes The DS 00 contains a fully featured 40 x 8 monitor matrix This allows you to take up to 40 signals from either console busses or tape returns and combine them to feed 8 speaker outputs providing for up to 7 1 format monitoring These are some examples of its functions 1 Setting the sources to monitor any combination of music dialogue and effects for film mixing 2 Setting the sources to toggle between buss outputs or tape returns Sometimes referred to as PEC Direct switching 3 Feeding different speaker systems for comparisons between main monitors and nearfields 4 Comparing pre or post Dolby encoded signal using the switchable monitor path insert point 5 Controlling listening levels to ensure a constant SPL for film mixing purposes using the calibrate function 6 Checking different mix formats Stereo LCRS 5 1 and 7 1 for compatibility with
161. re button is pressed a text panel is displayed and any incoming MIDI controller or program change information is recorded The captured text may be edited or new text entered from scratch by touching the Edit button and typing This text is then compiled into the required stream of MIDI data when OK is pressed Errors are reported at this stage The correct format for the messages is as follows Program Change A 2 digit MIDI Channel number between 1 and 16 P to indicate Program Change A program number between 0 and 127 eg 01 P 127 Control Change A 2 digit MIDI Channel number between 1 and 16 C to indicate Control Change A controller number between 0 and 127 An equals sign Optional A controller value between 0 and 127 eg 01 C 11 64 The words Program and Controller may be used or just their initial letters case insensitive The equals sign is optional Comments are not stored although anything on a line after a semicolon is ignored The first message in the editor is used as the snapshot name on the button label but this may be edited When not capturing editing renaming or deleting the snapshot buttons will output the stored MIDI data when pressed To record a MIDI Snapshot into dynamic automation press the Record button and touch the relevant Snapshot on the list Touching the Play button if not already lit will enable the playback of the Snapshots In the Automation Editor the strip beneath controller snapshots will
162. reen auxiliary or using the Input Screen Scroll buttons on the left of the input section Screen Scroll Aux Sends Aux On Off and Pre Post Aux Sends Aux On Off and Pre Post The highlighted auxiliaries on the input screen will change The rotary controls and switches beneath the screen are used as auxiliary sends pans on off and pre post switches in the following way MONO AUX STEREO AUX FIRST MONO AUX SEND STEREO AUX SEND FIRST MONO AUX ON OFF STEREO AUX ON OFF PRE POST WHEN SEND IS DOWN PRE POST WHEN SEND IS DOWN SECOND MONO AUX SEND STEREO AUX PAN SECOND MONO AUX ON OFF STEREO AUX PAN PRE POST WHEN SEND IS DOWN TOGGLE TO CENTRE 1 16 SOUNDTRARACS Chapter 1 1 3 11 Control GrouUpPS seca ces eee secre cee acetic eee Nashe sra Any number of input channels and output channels can be connected to one or more of the 8 Control Groups They can then all be operated from a single worksurface control Changes to the Control Group fader mute or solo controls will affect all channels connected to the group To set up Control Groups 1 Touch the Control Groups button on the Master screen 2 Touch the Touch Faders To Join Leave button on the required Control Group 1 8 3 Touch the faders on the channels that you want to include Touching the fader again will remove it from the group 4 Touch the Touch Faders To Join Leave button again to turn the function off 5 Use the worksurface fader mute and sol
163. ressing all the buttons for the devices that are present in the system eg FOH Main and Remote PC and then selecting the This One button for the device that you are working on Then press Edit Details and the IP address can be seen in the bottom left of the panel ixi 15 x Console Type D5 Live Console Type D5 Live c Sedia Console Configuration n s Console Configuration Press each button that applies to the current console network and select one of them as this console Hardware Expected Audio Engine Option Overview Screen p Locally Installed V On Board FX IZ Connected FRONT OF HOUSE MONITORS T Audio Engine Slave cards gE G P pe rocessing Channels M eoo consoles present this one consoles present this one T Timecode MADI cards B H feos S MON Main T WorkSurface Input surfaces gH 9 pin Tracks to arm fas MON Miror pal GPI cards GPI port jo GPI Script file Edit or 0 Relay cards Relay port jo S Fader Start threshold 6 lt steresis 2 S Redundant Engine p 9 va x i x G 9 AE Sockets file D5112Ex skt Edi pots ng ee ey A S System Access Surround Signal Orde Connected IV T Jv lT ID 21 f hl Password O CRs Remote PL Copy to MADI TIT IF lF z 5 1 LCR SLSR B M Console Network Tj Eaz IP address Console Rig Tal L LC C HC BH SL SH D TPE 192 168 2 9 Change Edit Detail X Cancel Restore x Cance 12 IP Address for This One 3
164. s Touching the buttons for the individual speakers will either Solo or Mute that speaker according to the mode selected in the middle of the panel 4 28 SOUNDTAACS Chapter 4 4 8 Macros The 8 Macro buttons at the top of the Master Section can be programmed to fire either single or multiple console functions Press the Macros button in the Layout menu on the Master screen and the following panel will open Press the worksurface Macro button that you wish to program or use the up down arrows to select a Macro button The panel displays two scripts for each button The top script is what to do when the button is switched on the bottom script when it is switched off If either script is blank the buttons LED comes on when pressed off when released and the same script will be fired the next time that button is pressed When a control is adjusted on the console the resulting control ID and value is shown in the relevant boxes in the panel To assign the function to the Macro position the cursor in the ON or OFF box according to which position of the Macro button you require to fire the function This can then be copied to the Macro script by pressing the Copy To Script Button If you require multiple functions on one button repeat the above procedure for the other controls Macros Press the macro button to program Type a Script is a comment ml 7 Load filename Save filename Press again to test Snapshot n
165. s is equivalent to pressing the safe button on an unexpanded channel strip and is subject to the safe scope This function may also be accessed from the worksurface automation controls 5 2 6 Selecting and Editing Events sssssss cesse sss sese ees eenn The events displayed in the Automation Editor can be selected and manipulated using the Tool buttons at the top left of the Editor section FT Mla aloe so xla sel Soo om Pm vom Channel and Fader Strips The default view of a channel strip in the Automation Editor contains only one view button the channel number title Rec Play Safe switches and the fader and mute automation display Selection of events on this strip will include all recorded events for the channel not just the displayed fader and mute This makes it easy to copy or move a segment of automation for a whole channel The Rec Play Safe switches on this strip also apply to the whole channel The Rec amp Play switches corresponding to the worksurface switches beside the channel faders If you wish to edit events for individual controllers within one channel press the View button to show the strips for fader and mute EQ etc as appropriate Selected events may be dragged vertically to copy or move them onto other controllers or channels If both source and destination strips are in the default channel view state all events for the channel will be copied or moved If either are in a more expanded state showing
166. s where the Input Section meters show the corresponding Input Channel signal and the Master Section Meters show the outputs The other option is All Outputs where the output signals are shown consecutively across the entire Meter Bridge In this mode holding the Meter Button and touching a row of on screen outputs will determine which outputs are assigned to the meters on the first Input Section 4 2 14 Meter Ballistics Touching the Meter Ballistics button in the Setup menu opens the following panel Meter Ballistics Attack rate Z 41 Ss er zoas _vuDefaut Peak Hold Zn Release rate 416 M ms per 20dB Ee J Close This allows ballistics to be altered for all meters on the bridge and screens using the up down arrows on the panel VU Default sets Attack and Release to 300ms PPM Default sets Attack to 41ms and Release to 416ms which are the engine defaults Peak Hold time can be adjusted to a value between 10 and 9999ms 4 2 15 Assignment Options scs s esse esse essen ennenen This button displays a panel which configures the different ways in which you can assign a console channel for display and control on the Input screens and control the display in the automation editor The Assignment Follows buttons provide another way of controlling the Channel Assignment which in turn controls access to EQ and Dynamics controls The Fader Touch option changes the assignmentto reflect the last channel whose fader was touched while
167. seeeeeeeeeenens In a FOH and Monitors system a great deal of care must be taken if analogue gains are to be changed with snapshots There are a number of methods of doing this but as the following points illustrate there are several things to consider Note Analogue gains are included in the snapshot Input Routing Scope and digital trims are included in the Input Controller Scope It is intended that one console will not have analogue gains in any of its snapshots scopes This prevents it from sending any rack commands at all and therefore it cannot change analogue gains with snapshots A similar situation could be created by making the console Receive Only for rack control but this will also prevent manual analogue gain changes In either case the other console is then in complete control of snapshot gain changes When a session is loaded it starts in lsolate so if you go to Receive Only then Full Connect you can join the rack sharing without making any gain changes If you are responsible for the analogue gains it is likely that you will want to go straight to Full Connect after load session Subsequently both consoles can be in Full Connect at all times this way if either operator spots an over or under they can manually adjust the analogue gain on either console and if Gain Tracking is on for both consoles the balance will not be disturbed Note Problems may occur if both consoles are using snapshots and they have digital trim ch
168. seen the display can be changed to show the subset of information you need If you record changes using the on line Record mode see 5 1 these changes are displayed in the Automation Editor as Events and you can change or move these Events using the off line editor tools NOTE If the channel display is in its collapsed state None of the lines of individual types of event are showing as seen below editing will affect all the events on the selected channel ap E o o oE lt e HoE To edit individual types of event the view must be expanded to show the relevant events by touching the down arrow next to the channel number am 1 2v Q EOG S lt z QH In the above example the fader and mute events are shown and can therefore be edited in isolation When the view is expanded the blue and red colours appear in a brighter shade Fader Changes and Mute On Off Events For each channel the Automation Editor shows the fader position and Mute status as follows Following the Timecode the Follow Button Mula On Mula O hannel Fade Level strings Channel Fades Level Mite Cin Mute Orr Areas which are coloured red are Muted and areas which are coloured blue are un Muted Each change in the height of the blue red area represents a fader movement Input Gain Events Input gain events are shown in the INP drop down menu in the following way ffs lal R a 5 14 Chapter 5 Stereo Panning Events P
169. sent the state of the relays which will be output when the cue is fired not the current state It is stored at the time the cue is recorded and can be edited by clicking on individual indicators with the trackball Restrictions Important Note The following features are not included in cues The input channel stereo switch Dynamics stereo link Talkback Channel Bank names 4 6 15 Snapshot TIMING sssvvecesegsssgsayeseeosesgsarsasvsssrsgas cst ysggyeasss areos To automatically sequence the firing of snapshots 1 Select the snapshot using the up down arrows in the centre of the panel 2 Press the Fire Next After button on the left hand side and enter a time in the boxes next to this button 3 Activate the function by firing the snapshot or pressing the Auto Sequence button When this snapshot is fired the next snapshot in the list will automatically be fired after the set time has elapsed and a red progress bar will show the time remaining until the snapshot is fired Pressing the Auto Sequence button while the progress bar is moving wil halt the process Each snapshot may also trigger Play From Play To and Locate To timecode commands Select the required snapshot and enter a timecode value in the relevant box Then activate the function by pressing the required button s Play From does a Locate then presses Transport Play if not already playing Play To presses Transport Play if not already playing and sets up an automatic T
170. solated it will effectively become safe from the global Rec and Play buttons Because it is permanently isolated from the dynamic automation it will be affected by the snapshots This status is saved with the session See Snapshot Automation for more information about combining snapshot and dynamic automation 5 1 7 Offset Time Uset Automation lime Baal vom e Touching the Offset Time button in the Automation menu opens the Offset Time panel which allows the whole mix to be moved forwards or backwards in time Enter a time for the offset in the Adjust time by box by touching the up and down arrows or touching the numbers and typing Touch the button to move the mix forwards and the button to move it backwards If the Only Plays button is pressed the offset will only be applied to controls which are in play mode If the Exclude Safes button is pressed the offset will not apply to controls which have been made safe in the Automation Editor Note If events are moved backwards past time zero they are deleted 5A SOUNDTRARACS Chapter 5 5 1 8 Edit Block Edit Automation Glock Touching the Edit Block button in the Automation menu opens the Edit Automation Block panel which allows blocks of events to be deleted moved or copied by defining start end and destination times Edits will include all the mix information in the block unless the Exclude Safes or Only Plays options are s
171. ster section and there is an input socket provided on the rear panel for a remote talkback microphone There are two Talkback channels A and B each activated by buttons in the transporta tion section of the worksurface Both are controlled by a level control on the worksurface 4 4 1 Talkback Mixer Button The two talkback channels can be mixed independently onto any buss using the Talkback Mixer panel which is displayed on the Master screen when the on screen Setup Talkback button is pressed Ye Ke pe a When you first push the on screen Talkback button only the bottom section of the panel is displayed push the Talkback Setup button to display the full mixer panel F CL 4 13 Chapter 4 4 4 2 The Talkback MIX ccccccsccecscseccceccecscecceceneeneneenenennsaeaees Each output buss has its own level control in the Talkback mixer along with a switch for connecting each Talkback channel to the buss at the chosen level The level controls can be adjusted using the faders below the screen with each row of busses assigned to the physical faders by touching one of the rows of faders in the display this works in the same way as the fader assignment of output busses in the normal console operation To route Talkback A or B to specific busses press the relevant on screen button on the mixer panel 4 4 3 Talkback Mic Setup css sss sss ses esec e eee eee Talkback channels A and B can be controlled separately b
172. t D i LA T T H control by midi KI To record the firing of a snapshot at a certain time touch the Record button in the Snapshots panel run the timecode and press the snapshots buttons The snapshots will be replayed at the same timecode and the labels for the snapshots will be inserted in the Snapshot line at the top of the Automation Editor See section 5 2 for more information about the Automation Editor Snapshot Update Mode Note that Snapshots are not affected by the Touch Record Relative Update or Auto Null settings If the Snapshot Play light is on Snapshots will only replay If the Snapshot Record light is on Snapshot firings will be recorded and old ones overwritten in other words if the timecode rolls over an existing snapshot firing this firing will be deleted even if nothing new is recorded If snapshots are in Play and you press Rec both lights will stay on indicating that Snapshots are now operating in Update mode Any existing snapshots will be replayed and any new snapshot firings will be added Nothing will be erased To edit the timing of snapshots use the timeline see 5 2 Automation Editor Combining Snapshots and Dynamic Automation You will have noticed that the Snapshot Mode buttons and the channel mode buttons are completely independent changing either does not affect the other Even pressing the global automation buttons in the Master section of the console will not affect snaps
173. t E This panel allows you to select which banks appear on the screen and whether they are Large or Small format The default view shows Channel Banks in small format and Group outputs Main outputs Aux outputs and Control Groups in large format To change the settings touch the relevant buttons in the left hand column and then touch the related Small or Large buttons on the right 2 4 3 Channel Banks ccccccsccecececccecececcecececececeaeeceeeeeneeeaeensneneanaes The naming and assignment of the worksurface Fader Banks is controlled from the Channel Banks panel in the Layout menu on the Master Screen To Name a Channel Bank touch the existing name eg Ch 1 8 and type a new one To include the Channel Bank on the Overview Screen touch the Include button next to the relevant Bank name To change the appearance of the Channel Banks on the Overview Screen touch the Small or Large View buttons at the bottom of the panel Touch here and type to Assign Bank to name Channel Bank Worksurface hannel Banks Clear Bank from Worksurface Include channel Overview Screen in Overview Screen size 2 18 SOUNDTAACS p Chapter 2 To Clear a Channel Bank from a worksurface Fader Bank 1 Touch the Clear Assignment button 2 Press the Fader Bank button that you wish to clear To assign a Channel bank to one of the console worksurface Fader Banks 1 Touch the Channel Bank Assign button 2 Press the relevant Fader Bank button
174. t or the racks Isolated and the panel appears in order to promptthe operator to make the necessary connections In this state any gain adjustments made on the console will have no effect as the racks will not be receiving any data The Main consoles MASTER Audio Outputs Active button will normally be highlighted in orange to show that it is the master responsi ble for audio processing at this time The same button on the Mirror should not be highlighted at all The MADI Rack s connect states Receive Only and Full Connect are enabled disabled and set according to the Audio Master active state an inactive engine cannot output to a MADI rack When the Main console and the Redundant Engine have been mirrored the communication with the DiGiRacks should be activated In a system where there is only a single console and a mirror on the Main console press the Full Connect buttons for the Optocore and MADI racks You will then be required to confirm the action the session settings will be sent to the racks and the console will have full control over them 6 10 SOUNDTRACS AppendixA If you have a system where more than one console is sharing the racks you may wish to use the Receive Only mode where the console will receive the rack s existing settings but will not be able to control the gain on the racks Options are Isolate where the console will not communicate with the racks and therefore any adjustment of input gain or 48V s
175. t the effect and the timing of each event When automating a mixdown you would normally begin by making a first pass in Real Time You can then edit the result of this first pass by replaying the recording and making further adjustments to the channel controls or use the tools in the Automation Editor to alter the recorded events For more information about the Automation Editor see section 5 2 Real Time Automation Modes The Global Automation Buttons allow you to change the mode of all the console s controls together You can choose how the automation system operates for each channel using the Automation Mode Record and Play buttons above the channel faders In addition the Automation Editor provides buttons to change the mode of each control ona channel recto start rec to end on ilet e7 186s8 capture capture capture on play automation The Record and Play lights indicate which Automation mode is active The different modes are as follows Record Play OFF OFF Isolate OFF ON Play ON OFF Record FLASHING ON Update or Trim Ready ON ON Update Trim ON FLASHING Nulling 5 1 2 Isolate Mode cccceccccececeecececcccececcececeececeaneceansennenennsaenesaeanas When you start using a New Session all channels are switched to Isolate mode by default Isolate mode simply means that the Record and Play LEDs are both switched off Each channel s controls can be altered on the screen or the worksurface and thes
176. tal or consequential damages including lost profit whether based on warranty contract tort or any other legal theory This agreement is made under the Laws of England ETC ENG BNO TT Co oS REGISTRATION DATE sier 5122 nan ssa eater aiana L L T T WINDOWS USER LICENSE AGREEMENT IMPORTANT READ CAREFULLY BEFORE USING EMBEDDED SYSTEM WHICH CONTAINS MICROSOFT SOFTWARE By using embedded system software you indicate your acceptance of the following Software License Agreement SOFTWARE LICENSE AGREEMENT Embedded Products This software license agreement including the Warranty and Special Provisions set forth in the appendix or separate booklet included in this package is a legal agreement between you either an individual or an entity hereinafter End User and Digico UK Ltd Embedded System Manufacturer of the embedded system containing software product By using the embedded system on which software program s have been preinstalled SOFTWARE you are agreeing to be bound by the terms of this agreement 1 GRANT OF LICENSE This License Agreement permits you to use the Microsoft SOFTWARE as preinstalled on the embedded system 2 INTELLECTUAL PROPERTY DS 00 contains intellectual property i e software programs that is licensed for the end user customer s use hereinafter End User This is not a sale of such intellectual property The End User shall not copy disassemble reverse engineer or decompile the soft
177. tart and Write to End markers Automation can be written from the current time to either of these markers The markers may be set by pressing Capture when the current time is at the desired point The Write to Start and Write to End buttons are only enabled when the current time is between them and when at least one controller is in Record mode If pressed at any time during recording the current level for any controller which is in Record mode will be written from that point back to the Start marker or forward to the End marker This will erase all other events previously recorded NOTE The Write to Start Write to End Capture Start Time and Capture End Time buttons are also accessible from the console worksurface in the Automation controls section Channel 01 Fader in Record Mode Current Time Position Blue Start Marker Blue End Marker INF pobl AUX PAN Fao mur GRP Touch Faders ZZ tite t START i 00 09 22 Capture HE te ty o0 00 49 23 Capture to Safe Unsare 0 10 0 20 ALL ALL ALL ALL ALL i S S al Pare a li Snapshots EE aj WGR 2n DUG ZIS 7828 sems RES i I captura capture on play j Press Write To End a ee ALL ALL ALL ALLY ALL J ltl Be Snapshots BEE ZI PEII Fs sews B S L lal R a 5 17 Chapter 5 5 18 SOUNMTE ACS Chapter 6 Chapter 6 Options es m 9 Chapter 6 6 2 SOUNMTe Acs Chapter 6 6 1 Effects If The Effects
178. ter Meter Status Macro Buttons Studio Feeds Phones Talkback Snapshots Automation Controls Locators If AR Input Assign L Touch and Turn ey bo eer Ae A Re a eet S93 93 90 EDE TIE 9 96 Transport and Talkback Output Control Group Controls Monitor Matrix 4 1 1 The Master Screen ccccccecccececccccceccceceeceeaceneceeeeeaneneaeceneenees Master Screen Status Display The master screen displays information on the current session mode timecode and sync at the top left The system date and time are displayed on the right Further system information can be found in the Diagnostics Panel System Menu Session Manual Session File Console Mode Stereo Solo Mode AFL Timecode 25 ips MASTER Audio Syne Presets File elsoundt 1 stracs 1 ds00_005 ds00 pre SOUNDTRACS a i ii 1 P i l i j j l j i j j i j j L d SYSTEM RESOURCES SYSTEM MEMORY AUDIO ENGINE MADI RACE 1 MAOI RACE 2 MADI RACE 3 MADI RACE 4 wWORESURFALCE TIMECODE SYSTEM l ee 4 3 Chapter 4 4 1 2 The Menu Buttons css sss ssc s cce c ceann System Menu This menu displayed by touching the System button contains additional buttons which display system information System Shut Down Button This command should be used to shut down the console in normal operation e Sessions ie Automation Snapshots Aus Contral Groups pin F11 Restart F12 Reset Reset Reset Configure Cut to En
179. that it can be removed from the ALL function touch the switch icon below the item and an open switch will appear to indicate that the item is no longer included Shuttle and Jog The Shuttle and Jog wheel can be used to move forwards or backwards through timecode positions and if timecode output has been enabled these changes in the timecode position will be sent to external machines Video Sync Lock Indicator By connecting a video or black burst signal to the video frame sync input on the worksurface rear panel you can provide an external frame sync for the timecode If the console is acting as timecode master or regenerating timecode the frame boundaries in the timecode are then locked to those on the incoming video signal If the console is acting as a slave this will improve the accuracy of the automation If the lock is operating the green indicator on the panel lights up to indicate this 4 9 3 Track AMINO cpana aa If you are using the Sony 9 Pin protocol the control of the status of tracks on recorders can be associated with the outputs which feed those tracks The arming of tracks can be controlled by 1 An input channel with a direct output routed to a socket which has a track number defined for it 2 An output channel Aux or Buss Group Stem which is routed to a socket which has a track number defined for it To define track numbers for sockets add the following message to an output socket definition in the Sockets File Tra
180. the System Service Configure Hardware menu Pressing this button closes the current session and opens the DiGiConfig program When the settings have been changed and the OK button is pressed the session is reloaded with the new settings Surround Signal Order LERS LCRS 5 1 LERSLSRE rd JLLCCRCRSLSRB The default order shown above can be changed by moving signal letters or letter pairs Therefore each surround format can be specified separately and the console will use the one appropriate to the current session when automatically routing stem outputs For example a common arrangement for AES EBU pairs might be LCRS order LRCS 5 1 order LRC B SLSR This would mean thatthe left right pairs are always together 3 6 SOUNDTAACS Chapter 3 3 2 9 Analogue Output Level Selection ccceeeseeeeeeeeeeees The Analogue Output Sockets 0dB Level can be set to 4dB or 10dB for compatibility with a wide range of audio equipment The default level is 4dB and the level can be changed to 10dB by pressing the button which appears when an analogue socket is selected as an output destination 3 2 10 Buss Signals as Input Sources css sese s cesses ee ee eee The output results from output channels can be returned into input channels by scrolling to the bottom of the Signal Group listing at the input stage of a channel You will see Signal Groups for each type of buss which is in the current console configuration eg M
181. the automation mode in which that channel is currently operating These are also buttons and you can press them to set the relevant mode The Record and Play behave in exactly the same way as the corresponding lights and buttons on the channels The third button is used to select Safe Mode see Safe Mode section 5 1 6 Channel Control Drop Down Buttons The display beside the channel label shows the channel s fader movement but you can also automate and edit the other channel controls The drop down buttons beside the channel label allow you to see any combination of the parameters for any channel each channel has buttons for displaying Pan Aux EQ and Dynamics controls For example to see the EQ automation for the channel labelled 07 click the a 01 and then the Slaap dou buttons 2 Sd ap n c s DER ae SC conn CE I E Chapter 5 View All Buttons In the top left corner of the editor panel there is a row of six View All buttons When pressed the sixth button will expand all visible channel views into fader and mute views as shown below SERERE sare G ce aE w aanl ap Raal ap n c s PEDER c lt Ze ess SOS PEE ER c lt ap m n c s DER lt lt The other buttons perform the same function on the other sections but their effect will not be visible unless the channel s fader and mute view is already open The effect of the button will however be visible if the channel view is expanded subsequently
182. the devices that are connected on the network and in this example there is a D5 1 Select the device from the list that you wish to transfer from the D5 in this example 2 Press the Transfer Sockets button and the FROM other console button 3 Press OK This will transfer the Sockets File to the Mirror console and the Consoles and Racks panel will reopen 4 Press the Sync Session button again 5 Select Transfer Presets 6 Press OK This will transfer the Presets File to the Mirror console and the Consoles and Racks panel will reopen 7 Select Transfer Session 8 Press OK This will transfer the Session File to the Mirror console the Consoles and Racks panel will reopen and the Sync Session button will be highlighted in orange A session can be synced in either direction the default setting is from the current audio master NOTE If you have already transferred the Sockets and Presets files you can sync the sessions by pressing the MIRRORED button selecting Full Sync Session and pressing OK This will automatically activate Mirroring after syncing the sessions Ps 2 I ONIN PHHH When the Sessions have been synced Mirroring can be activated by pressing the Mirrored button on the Mirror console and the following panel will open D5 Select here to update another console Select here to update this console Select here to activate mirroring Select here to update thesession file Appendix A 1 Select the device fr
183. the label will be displayed The number of characters displayed depends on the character width Above the faders on each bank the touch screen provides access to the routing and processing for each channel 2 1 3 Input Screen The Standard View ss sss esse sss sese ces esse ee In the screen s Standard View each on screen channel is shown in abbreviated form The controls around the screen operate as follows detailed information about each particular control is given later in this chapter Upper row Channel Input Gain and Phase Lower row the first two rows of controls below the screen are used to adjust the channel s Pan position Auxiliary sends and Dynamics parameters The on screen channel strip is normally coloured grey but one or two of the Aux Pan controls are highlighted in a different colour indicating that these controls are currently assigned You can scroll the assignment up and down the list of Aux Pan controls using the two Screen Scroll buttons on the left hand side of the section or by touching the control on the screen Surround panning is operated using both rotaries but is easier to adjust by selecting the channel and using the joystick Cs la R T 2 3 Chapter 2 2 1A Ins MOETS eE EEr iias Note that the meter above the channel display will show the input signal level for that channel but if the Meter Buttons to the right of the Input screen are pressed the meter can show any of the following Input Gate GR
184. tically be assigned to the next consecutive sockets in that input group This assumes that there are enough input sources for all the gang members in the socket group If there are not enough sources the gang will be allocated as many as are available at that time In a similar way if one gang members group routing is changed the other gang members will all be routed to the same group NOTE The following controls are not affected by changes to other gang members Channel and Aux Pans Sub Feed Modes Input Phase buttons Solos All other controls are affected by changes to other gang members including 1 Presets Ifa preset is selected for one gang member it will load into all the other gang members as well 2 Socket Routing Buttons ie Input source Direct Out and Insert Send Return 2 16 SOUNMTE ACS Chapter 2 2 4 Layout 2 4 1 Channel Overview ccecccecsccceececccccsceccecececeeeceeceeeceaeceneeneneas Touching this button displays a panel containing all input channels for the whole console It indicates worksurface assignment and provides global touch buttons for setting all or selected left or right bank faders off or to OdB if they are not safe recording or playing a a a copy ow cos 3 CI E PROM SEORS AS si een IPO hE Bank EG in Comp in Gate in Sola Hute Set OdB RR RRR RRR RRR RRR ERRER RRR RRR Fader 4 5 E SHB TSIOTSS4HR TS 901 S345 79901 224 Each channel displays the
185. to nulling is complete the Record light goes off and the channel is returned to Play mode You can change the auto nulling speed in the Automation Options panel For faders the Auto Null on Release option determines what happens when you release the fader If the option is selected the fader will Auto Null to play when you let go If the option is not selected the fader will stay in record until you manually press the PLAY button at which point it will Auto Null to play Auto Null Time is the length of time in frames that the system will take returning to play from Record or Update Thus you can have very smooth updates where you simply grab a fader hold it at a new level for the length of time required and then have it seamlessly reintegrate with the mix The default setting for the Auto Nulling time is 75 frames Manual Nulling You can decide to control the rate at which a particular channel nulls back to the old automation even when auto null is operating To do this touch record a fader to start recording When you are ready to return to play release the fader The Play LED will start to flash to indicate that it is nulling grab it again Now the fader will wait to be manually nulled the flashing continues indefinitely It will continue to write the current position to the automation until either i you move it to the point where it matches the previous automation or ii the previous automation changes to match its level CJ Sd 5 3
186. tries to recover the session there is still a problem The session file may have become corrupted Reload the DSOO software whilst holding the keyboard Shift key A Recover and Restart panel will appear which provides different reboot options Note If you hold the Shift key while Windows is rebooting the Surfaces exe program will not start and the console will not function correctly Therefore load the DS00 software then Quit To Windows using the System Service Menu and then load the DS00 software again whilst hold ing the Shift key have an input source selected for a channel but there is no audible signal Check that the channel insert is not switched on If it is switched on but no insert return signal is se lected then there will be no audible signal in that channel do not seem to have as many Channel Sends available as should The number of Channel Sends available can be seen in the Diagnostics panel under the System menu They are used by Direct Outputs Channel Insert Sends and the internal Effects module If you are using the internal Effects module 2 Channel Sends will be used for each stereo effect If FX5 and FX6 are set to Output Processing anything between 4 2 x stereo masters and 16 2 x 7 1 masters Channel Sends will be used How do tell if a channel is stereo or mono when the input screen is in its standard view Stereo channels have two on screen meters and there is also an s above the channel number
187. trol Room Monitoring 4 23 Control Room Source 4 23 Controller Scope 4 19 Copy 5 15 Copy Channels 2 20 Copy Clip 5 5 Copy Levels from Faders 3 5 Copy to MADI 4 5 Copy To Script 4 29 Crossover 6 7 Curve 1 15 2 9 Cut 5 15 D dB Pop up Readouts 4 4 Deferred Play 4 30 Delay 2 7 Delete File 4 7 Deleting a Snapshot 4 18 Destructive In Place 4 11 DiGiConfig A 3 Digital Synchronisation 4 33 Digital Trim A 5 Dim 4 23 Direct Outputs 2 14 Display System Alerts 4 4 Divergence 2 12 Duplicate 5 15 Duplicate Channel 2 20 Dynamics 1 15 2 9 Dynamics Linking 2 11 Dynamics Presets 2 11 E EDIT Configuration Details A 3 Edit Monitors 1 18 4 25 Edit Sources 4 27 Editing Events 5 14 Editing Multiple Snapshots 4 17 Editing Tools 5 15 CJ T Index Effects and Auxiliaries 6 4 Effects and Routing 6 4 Effects Control 6 6 Enable Gain Tracking A 5 Enable Undo 4 17 Entering Times 5 5 EQ 1 15 Equaliser 2 8 Ethernet Connected 1 8 Ethernet Crossover cable A 7 Event Display 5 11 Event Tools 5 16 EX 00 6 9 Exclude 4 19 Exclude Safes 5 4 External Sync 4 33 F Fade Out Automation 5 16 Fader Bank 1 10 2 3 Fader Movement 5 9 Flat Button 2 9 FOH and Monitors Setup A 3 Follow Button 5 11 FP 00 6 10 Frame Rate 4 31 Full Connect 1 8 G Gain 2 7 Gain Tracking A 5 Gain Tracking and Snapshots A 6 Ganging 2 16 Gate 2 10 Gate Key 2 10 Global Safe 5 13 Graphic EQ 6 3 6 8 Greyed out 7 3 Group Buss
188. trol two input signals the one which has been selected and the next one in the rack eg If Mic 1 is selected and the stereo button is pressed Mic 2 will also be controlled 1 3 5 Routing the Channel Signal cccccssseessseeeeneeeeeeeseeees The channel signal can be routed to Groups and Direct Outputs To Route to a Group 1 Touch the bottom of the input screen to open the routing panel 2 Touch the Groups button if it is not already highlighted 3 Touch the Group button s that you require eg Main Grp1 etc 4 Touch the bottom of the input screen again to return to the standard view Chapter 1 To Route to a Direct Output 1 Touch the bottom of the input screen to open the routing panel 2 Touch the Directs button if it is not already highlighted 3 Touch the name of the Socket Group to view the output socket names 4 Touch the Output Socket button s that you require eg Line 1 Line 2 etc 5 Touch the Pre Post button to specify the position of the Direct Out relative to the channel fader in the signal path 6 Touch the bottom of the input screen again to return to the standard view 1 12 SOuUNOTeE ACS Chapter 1 1 3 5 Routing Busses To Outputs sss sss sese seene eee The Master Group Auxiliary and Matrix busses must be routed to output sockets as part of the initial configuration This is achieved by using the buss output routing panel in the Master Screen 1 Touch the Buss Outpu
189. ts button at the top of the master screen 2 Touch the on screen meter of the relevant buss to expand the view 3 Touch the Route button at the bottom of the panel 4 Touch the name of the Socket Group that contains the output you require eg Line 1 16 5 Touch the Output Socket button s that you require eg Line 1 Line 2 etc 6 Touch the Route button at the bottom of the panel to close the routing 7 Touch the area around the on screen meter to return to the standard view 8 Use the Master Screen Scroll button to select the relevant row of outputs and adjust the output level with the worksurface master faders NOTE Fora stereo buss select the output for the left hand signal and the next consecutive output is used automatically for the right hand signal Vv z LIMITR LIMITR N gt gt m m AFL CS C3 1 13 Chapter 1 1 3 6 Save AS New File ccccecececsccceececscecsccceecsceceeeerseaeeaneeeeeeanas When you change the configuration of the session you may want to save it to the console s hard drive under a new filename 1 Touch the Sessions button at the top of the Master Screen to view the menu 2 Touch the Save as New File button in the Sessions menu to open the panel 3 Touch the Projects folder button at the bottom of the panel to select the file destination 4 Touch the New Filename box and type the chosen name with a maximum of 8 letters and no punctuation 5 Touch the Session Title box a
190. ttable controllers Routing Relay outputs Selection of MIDI patches Crossfade times Control Group members Gang members All Channels and Exclude buttons in Channel Scope NOTE Banks Layout settings are excluded from the Edit operation since it is likely that scrolling etc may be needed to access channels which need to be changed without wanting to change the stored Layout Changing Snapshot Banks can only be done with the Replace command on one snapshot at a time If you recall the Snapshot before changing the layout all other settings stored in the Snapshot will remain unchanged Touching faders to add or remove channels to or from the scope is also copied to all snapshots selected for Editing but note that the choice between add or remove depends on the currently displayed list IMPORTANT NOTE When editing the channel scope by touching faders the Snapshot with the dark horizontal line next to it whose Scope is currently being displayed will be updated whether it is selected for editing or not During the Edit command all other scope controls do not affect the snapshot whose scope is being displayed only those snapshots selected for editing 4 6 7 MOVING a Snapshot sss sss sse ss sees sese eenn eee If you wish the Snapshot list to appear in a specific order you may change the order of the list by moving the entries Touch the Move button and then touch the Snapshot that you wish to move You then touch the point in the list
191. uch one of the buttons on the left to select an effects module and assign an effect to it by selecting from the grid of buttons labelled with the effect names Reverb FX1 Selection of an effect for the first module labelled Reverb can only be made from the first page of 30 reverb effects Other Effects FX2 FX3 and FX4 Selection for modules 2 3 and 4 can be made from a similar list of reverb effects but by selecting the tab labelled Other Effects there are further choices including delay chorus flange and pitch shifters conngure CTects E Simple de Studio delay PingPong Filter Stereo 4 Tap Chorus amp Echo Public Address Phone Thru the wall Congregation Comms Piano chorus strings chorus Strum chorus Pick chorus Low chorus Deep flange Light flange Vibrato Robo Dual pitch Stereo pitch 12 string Vow thicken Vor double vocoder AubOP an Output Processing FX5 and FX6 Selection for modules 5 or 6 can be from the Reverb or Other Effect lists but the Output Processing tab also becomes available and you may choose the type of signal that you wish to process or select Graphic EQ The output options are Stereo LCRS 5 1 or 7 1 Output Processing consists of input and output gain 3 band compression and limiting and 4 band EQ for each channel Graphic EQ consists of 6 channels each with 28 bands and an input trim control s R 63 Chapter 6 6 1 2 Effects and Routing sss sss esse sese sese eese enesenn eee
192. up z v v Outputs Groups Matrix v vw e ove ove ove over over LIMITAR LIMITR LIMITR o G G G G r o oe o G r r r r o o MUTE MUTE AFL Touching the expanded view of the buss meter will restore the display back to the single fader mode ff T 3 3 Chapter 3 3 2 Output and Buss Controls Once an output channel is expanded you can access its controls Buss Label BUSS CONTROL Buss Control button Level Trim use fader Mute Limiter In Out Limiter Threshold use fader Limiter Release use fader Over Indicator Output Routing The Label Buss Control and Routing settings apply to the whole buss but for Stereo and Surround busses the other controls can be set independently for each signal on the buss A al Be 0 TTT The Label operates in the same way as an Input Channel label to change it just touch the on screen label then type a new name on the computer keyboard or the On Screen Touch Keyboard When a buss is labelled its name will appear in the input channel routing display Mono busses will always be labelled with a single dot and stereo busses with a double dot in the input channel routing screen 3 2 2 BUSS Control Button ss sss sss sese e enean Touching the Buss Control button displays a screen showing which channels are currently routed to the buss and offers different options according to the type of buss it is Group Buss Control Clear All Connect All routes
193. used in any solo mode If the Active button is pressed channels that appear on the list will be soloed automatically whenever any other solo is pressed To add channels to the list press the Touch Faders to Select button and touch the required faders When the active button is switched off the list is not affected but the Solo Safe function is disabled The contents of the list are saved in the session files Note If one of the channels on the list is soloed manually the other channels are not automatically soloed with it H L f NN 4 11 Chapter 4 4 2 12 Master Section Meters Successive presses of the Meter Button in the top right hand corner of the worksurface will toggle through three metering options these are Meter Master Buss Default Meter Control Room The meters will show the selected type of control room signal Main buss or selected control room source Meter Selected Busses The meters in the console s Master section can be assigned to any console buss To assign Group or Aux busses to the Master meters press and hold down the Meter Button in the top right hand corner of the worksurface and touch up to eight buss displays on the Master screen one after the other Release the button when all the required busses are selected 4 2 13 Meter Bridge Options sss sese sees s seene Touching the Meter Bridge button in the Setup menu allows you to choose between two options The default setting is Inputs amp Output
194. ut gain or 48V switch will have no effect on the rack settings Receive Only where the console will receive the rack s existing settings but will not be able to control the gain etc on the racks Full Connect where the console will send its settings to the racks and change them accordingly For more information on the use of this panel please see the chapter on Multiple Console Setups 1 8 SOUNDTRARACS Chapter 1 1 3 2 The New Session Panel ccccececececcceececececcceeeececeaneeeeeenes To create a new session 1 Touch the Sessions New Session button on the Master Screen 2 Select a Main Buss Mode This defines the format of the Main buss as Stereo LCRS 5 1 or 7 1 Surround This also affects the options for selecting the Group and Aux buss formats if the Main buss is stereo the other busses cannot use the Surround formats and if the main buss is Surround format the other busses cannot use a different Surround format although they can be stereo 3 Select the required number of busses The Output Groups and Aux Outputs settings allow you to define the format and number of the Aux and Group busses The total amount of busses cannot exceed 39 including the Main Buss and one AFL Buss 4 Select options to clear the current settings When you start a new session all current settings will be inherited by default but Automation and Snapshots will be cleared The buttons at the bottom of the New Session panel allow
195. ware program 3 COPYRIGHT The SOFTWARE is owned by Microsoft Corporation or its suppliers and is protected by United States copyright laws and international treaty provisions and all other applicable national laws Therefore you must treat the SOFTWARE like any other copyrighted material e g a book or musical recording 4 U S GOVERNMENT RESTRICTED RIGHTS The SOFTWARE and documentation are provided with RE STRICTED RIGHTS Use duplication or disclosure by the United States Government is subject to restrictions as set forth in subparagraph c 1 ii of The Rights in Technical Data and Computer Software clause at DFARS 252 227 7013 or subparagraphs c 1 and 2 of the Commercial Computer Software Restricted Rights at 48 CFR 52 227 19 as applicable Manufacturer is Microsoft Corporation One Microsoft Way Redmond WA 98052 6399 Please see the Warranty for information concerning governing law Product support for the SOFTWARE is not provided by Microsoft Corporation or its subsidiaries For product support please refer to Embedded System Manufacturer s support number provided in the documentation for the embedded system Should you have any questions concerning this Agreement or if you desire to contact Embedded System Manufacturer for any other reason please refer to the address provided in the documentation for your embedded system For the limited warranty and special provisions pertaining to your Country please refer to embedded
196. which is used in multiple console environ ments to store and backup files New Project Creates a new folder with the default name Proj001 You can then rename this as required Rename Touch this button and then touch the folder name that you wish to change This will then be highlighted and you may type anew name Delete Touch this button and then touch the folder name that you wish to delete You will then be asked to confirm the deletion request ff S a Chapter 4 4 2 5 The Save As New File Button ccs ssc ccc e ces eean Touching this button will open the following panel save Hew Session lastsess ession Ti Template Session This panel allows sessions to be saved as new files under new names Select your drive and folder by touching in the boxes in the bottom left corner then touch and type a new file name with a maximum of 8 letters and no punctuation in the box on the top left You may also specify a session title which can be a different name to the file itself and may therefore be longer and more descriptive Then touch the Save button to complete the process NB If you touch a session name on the existing list this name will automatically be selected as the new file name and touching Save will overwrite the old file 4 2 6 The Save Session Button ccccecsceeeecececsccceecececeeeceneeneaees This button which is found above the Save As New File button will save the existing session in the same location an
197. wind Play 4 31 S Safe Mode 5 4 5 13 Safe Scope 5 13 Sample Rate 4 34 Save As New File 1 14 4 8 Save Presets 4 10 Save Session 1 14 4 8 Save Session Time Setting 4 4 Scaling the Automation Editor 5 10 Scope 2 20 Scope of Record and Play 5 4 Screen Scroll 1 16 2 3 2 11 Scroll Automation View 5 10 Scrolling the Master Screen 3 3 Security Settings 4 5 Select Insert 4 25 Select Signal 2 5 Select Speaker 1 18 4 25 Selection Tools 5 14 Selector Tool 5 14 Send 2 15 Send Gain 2 15 Sessions Menu 4 6 Set all Input Direct Sends 1 9 4 7 Set Backup Files 4 7 Set Levels OFF 3 5 Set Levels to 0dB 3 5 Show aux and fader dB Pop up Readouts 4 4 Shuttle 4 32 Sidechain Solo 2 9 Signal Group 2 5 CJ E T Index Single 6 15 SIP 6 15 SMPTE 4 31 Snap to Timeline 5 16 Snapshot Automation 5 7 Snapshot Crossfades 4 20 Snapshot Layouts 4 18 Snapshot Scope 4 19 Snapshot Timing 4 20 Snapshot Undo 4 18 Snapshot Update Mode 5 7 Snapshots 4 16 Snapshots and MIDI 4 21 Solo 4 23 Solo Buttons 4 11 Solo Options 4 11 Solo Safe 4 11 6 15 Solo Trim Level 6 15 Source Switch Toggles 4 28 Sources Setup 4 26 Speaker Solos 4 28 Stem Signal Order 3 6 Stereo 1 11 Stereo Channel 2 6 Stereo Link 2 11 Studio Feeds 4 13 Studio Monitoring 4 13 Sub 2 12 Sub Channel Dynamics 6 7 Sub Channel EQ 6 7 Surround Panning 2 12 Swap Reverse Left and Right Signals 2 6 Swap Channels 2 19 Switch All 3 5 Switch events 5 15 Switch Rec to
198. witch will have no effect on the rack settings Receive Only where the console will receive the rack s existing settings but will not be able to control the gain etc on the racks Full Connect where the console will send its settings to the racks and change them accordingly Full Connect A Z ves X No Receive Only A Ex The following diagram shows the connections required to set up a mirror console with MADI connections MIRROR CONSOLES USING MADI Same setup as aconsole anda Redundant Engine STAGE RACKS WORD CLOCK ETHERNET CROSSOVER PORT 1 ORT 3 PORT 3 FOH MAIN sync Master WAN FOH MIRROR OR RE Sync Word Clock LOCAL RACK oS oo a Appendix A The following diagram shows the connections required to set up a full rig with redundant mirror Front of House and Monitor consoles a redundant optical loop and multi operator Gain Tracking MADI available for independent feeds for broadcast recording etc STAGE RACKS BH1I9191919 BH1I9191919 BHI91910919 0j0 0 0 0 S OPTOA ID 33 OPTO B OPTO B OPTO B OPTOA MONITOR MIRROR OR RE Sync OPTO FULL REDUNDANT RIG FOH and Monitor consoles both with Mirror Q consoles or redundant Engines ETHERNET CROSSOVER LOCAL RACK Optional Redundant Optical Loop D DDD D n00 DDD 1090 D DDD 100 D DDD 100 D H H Leas Oll alln MONITOR MAIN Sync OPTO ETHERNET CROSSOVER OPTOA I
199. wok _ 192 168 2 11 Change rOveriew Scree V Connected Audio Engine Option V On Board FX J Processing Channels M eoo al x 2 H feos 9 pin Tracks to arm 48 GPI Script file Edit Fader Start threshold fe L hysteresis 2 9 sf Sockets file D5 112EX skt Edit System ccess Surround Signal Orde LCRS LCR S Passwor 5 1 LCR SL SH B Console Rig ra IL LC C HC H SL SH B K Restore X Cancel MONITORS Sirris Gret Brp we alH anes T Mirror FOH Console Details Console Type DS Live File C D5 D5 1NI Hardware Expecte Locally Installed IV Audio Engine Slave cards i MADI cards pa Input surfaces 23 GPI port jo V Timecode V WorkSurface p l GPI cards pj Relay cards Optocore pate Pn an Connected MID Iv T D21 Th Copy to MADI TT lF lF x Console Network gt IZ Connect IP address 192 168 2 19 Change Relay port j0 Li lx Console Configuration Overview Scree V Connected Audio Engine Option JV On Board Fx JV Processing Channels WwW eoo K 2 H feos 9 pin Tracks to arm s GPI Script file Edit Fader Start threshold 6 hysteresis 2 9 48K Sockets file D5 112EX skt Edit System Access Surround Signal Orde LORS LCRS 51 LCASLSRB Fal LLCCRCRSLSRB X coca Console Rig Ea S Z Restore Note that the Optocore IDs are 20 FOH and 21 MIRROR In this example the
200. y a section of the mix to the clipboard If this method is used the copied block can be pasted into a different session if required Enter a Start and End time for the block which is to be copied Select Leave Gap or Close Gap as appropriate Touch the To Clip button To Paste a copied block into the same or another session Enter a Destination time for the pasted block to start at Select Insert or Overwrite as appropriate Select a number of Copies which will be repeated end to end at the destination point Touch the From Clip button OS s Chapter 5 5 1 9 Trim BOCK cesses sse aeaea Pressing the Trim Block button in the Automation menu opens the following panel This allows a trim offset to be applied to any or all automated faders without changing the automation data The trim can be auditioned and refined as long as the panel remains open and then applied to the automation data for a single channel or all selected channels by timecode range to make it permanent Trim Faders Touch Faders 01 Mic 1 3 0 to Select While the Trim panel is open The faders behave in Relative Trim mode irrespective of Automation Options Autonulling and Nulling on Release are both switched off Trim information can be previewed but is not recorded unless the Apply buttons are pressed Touch Record is not altered therefore if it is not switched on in Automation Options then each channel s mode must be switched manually either before
201. y touching the relevant button at the bottom left of the Talkback configuration panel Talkback channel is sourced from the Local worksurface mic and B is sourced from the Remote Mic Each channel has a high pass filter a compressor with variable threshold and a control for the Dim level which is applied to the control room monitors when the Talk switch is pushed These can all be adjusted by touching them on screen then using the fader below the channel display Below these controls are buttons which configure the talkback switch The switch can be latching or momentary or can be set to operate automatically according to whether the worksurface transport system is in Stop Forward Rewind talkback on or Play Record mode talkback off You can also choose to disable the channel altogether 4 4 4 Talkback Presets cccccccccecccsccececeneececeececeaceceneeneneaneneaeeaeas You can set up four different Talkback Presets which specify routing configurations for the talkback channels by storing the settings of the talkback feed switches to each output buss though they do not store the signal levels sent to each buss Once you have one or more stored presets you can switch between them by touching the buttons at the bottom of the Talkback panel and you can name each routing preset by touching the white label above its button and typing aname on the keyboard This can be used to set up different talkback routing for communicating with diff
202. you to clear settings according to your own requirements When the buttons are pressed the relevant settings will be cleared If you are simply adjusting the buss configuration of an existing console you are unlikely to wish to clear all of your current settings You may also choose to Set all Input Direct Sends to Pre Mute Pre Fader Post Mute Pre Fader or Post Mute Post Fader for the new session Remember that when all settings are cleared any labelling or routing which you have done will be lost 5 Press the OK button and the Save As New File panel will open 6 Touch the C Projects folder button at the bottom of the panel to select the file destination 7 Touch the New Filename box and type the chosen name with a maximum of 8 letters and no punctuation 8 Touch the Session Title box and type a description of the session if required 9 Touch the Save button in the bottom right of the panel to save the session file Manual Session For example if you wish to use AFL within a 5 1 Surround console configuration an extra 6 busses will have to be reserved for that purpose CJ H T 1 9 Chapter 1 1 3 3 Selecting an Input Source cesses ees e esse cesses esse eee eee First select the Fader Bank that you require by pressing one of the bank of buttons next to the channel faders fader Bank l T eee perme BK er F c L i a 1 a gt ls pain p ie haare J 1 La i J i z i i

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