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EVO User Manual V4.0 8869KB Jan 09 2013 10:28

1. The Video Scroller is useful because you can see specific frames and scene changes coming up and use it for easy location To Display the Video scroller hold down the Shift and Zoom buttons Now the track buttons allow you to select audio scrollers and a Video Scroll button appears at the lower left of the picture keys Use this button to toggle the Video Scroller on and off screen from Hold these down Video zoom and click here Another way is to click Setup gt General Preferences gt Scrollers Page 306 PYXIS TRACK January 8 2013 General Preferences Select the Video checkbox Note Audio Scrollers are discussed on page 44 While the Video Scroller is active you can e Click on any part of any frame to locate the transport to that position e Drag the scroller left or right to move the transport Note there is no zoom control on the video scroller Page 307 PYXIS TRACK January 8 2013 Watermarking x Options Audiobase Playback Video Capture Projects Scrollers Themes Watermark Audio Plugins m Watermark I Enabled During Capture V Enabled During Play Bitmap C bmps testpattem_0001 bmp Use Alpha Channel Transparency 70 F invert Alpha Channe x Coordinate fo Y Coordinate fo V Movement T Dynamic L gt R 7 On Time seconds 10 Off Time seconds Ep Info The watermark bitmap should be no larger than 300 x 300 pixels It w
2. note value EZS REPEpNENpN ES r Shows Click to toggle Click one of these Set the These commands advanced the track three buttons to set current Note act on the selected quantize display the mouse click Value used note s They set options between the action It can be by Add Note duration to the Piano Roll and normal tracks used to select clicked notes add a note where you click or delete notes where you click Duration and Quantise current note value or add subtract the note value s duration To set the To Trim the To Trim the To change the Control how Set a playback velocity of the velocity of the pitch of the MIDI channel of many octaves loop and start selected selected note s selected note s the selected are shown on it Only MIDI note s move move the slider move the slider note s move the piano events are the slider to to show a to show a the slider to played not show the positive or positive or show a channel Toggle the audio required value negative value negative value number then metronome then click Set then click Trim then click Trim click Set on and off Notes can be added To do this click the Select button in the Left Click group then click a note value from the array Now move the mouse cursor into the piano roll and you ll see the note length Click to create a note of any pitch at any position Deleting notes is done by selecting the Delete tool then clicking on individual n
3. Enable fader level automation and put the channels to be trimmed into Preview using the faders Auto buttons Enter the Mix Menu Press the Preview Trim soft key The faders of the selected channels will snap to 10 dB Move the faders playing if desired to establish the amount of trim you want Press the Commit P Trim soft key To escape with no change press the Cancel P Trim soft key Live Preview This is a quick way of getting signal paths in and out of Preview status When Preview is toggled ON and this Live Preview is toggled ON selecting any signal path puts it into Preview Read to Preview Pressing this soft key while signal paths are in Preview status will load the current Read value of enabled parameters into the control fader or pot It can then be used to fill range glide range or as the basis for starting an automation pass Clipboard to Preview This is a way of copying automation data from any point to any other The clipboard is loaded in the Path Copy menu by pressing the copy soft key Then in the Preview menu pressing the Clipboard to Preview softkey loads the copied value of enabled parameters into their controls fader pot or switch for all signal paths in Preview status From there it can be used to fill range glide range or as the basis for starting an automation pass Flood range This command is also in the Path Copy menu and is connected to the above After copying a channel s parameter
4. Paste Special The system displays this dialog Page 109 Notes Trim EDITING January 8 2013 Paste Special Source Media Erase Delete Gain Erase Head Erase Tail Restore Head Restore Tail Now choose which characteristic to paste The clip whose characteristics are copied is the earliest in timecode on the lowest numbered track copied to the clipboard The special paste targets every clip that is wholly within the range on selected tracks Trimming allows clips to be resized Trim commands are used to set the head and tail of clips to determine how much of the original recording is played by the clip Trimming may shorten a clip or extend a clip if it is playing less than all of the original recording This will be the case if the clip was imported with handles or if the original clip has been edited Head Trim Head and Trim Tail are the most common uses of Trim Step 1 Step 2 Step 3 Step 4 Step 5 Select a track and move a clip under the cursor Press the Trim key if not already on Press and release the Head key Move the transport forward a few frames jog or play Press Enter The head of the clip is placed at the cursor which is now shorter The effect is just like erasing the head of the clip Its sync remains as before but it starts at a later time and a later point in the audio Step 6 Jog backward a few frames and press ENTER Now the head is moved earlier revealing more of the au
5. Using a Range If a range is present the fade head command applies the Head Duration field value and the fade tail command applies the Tail Duration field value to all red clips those wholly inside the range on selected tracks Using Soft Keys Advanced fade editing can easily be performed using the soft keys Setting Fade Duration Fade duration can be set numerically as follows Step 1 Press the set dur soft key Turn off the shape soft key if you do not wish to apply the Smart Panel fade shape to the selected clips Step 2 Press the fade head fade tail or fade clip key This determines whether the duration you set will apply to the head the tail or both Step 3 Set the Duration value using the Jogger Wheel press Stop if it is jogging the transport by typing numbers in the Numeric keypad or using the QWERTY keyboard Step 4 Press the Enter key to apply the fade duration s Trimming Fade Duration Fade durations can be trimmed from their current values This is particularly useful because it can be applied to a range of clips with one command Step 1 Press the trim dur soft key Turn off the shape soft key if you do not wish to apply the Smart Panel fade shape to the selected clips Step 2 Press the fade head fade tail or fade clip key This determines whether the duration you trim will apply to the head the tail or both Step 3 Set the Trim value using the Jog Wheel press Stop if it is jogging the tra
6. Load Last Project on Startup D Profiles Delete Profiles after fi 4 days Afido Redo Options 7 Playhead follows Undo IV Zoom Level follows Undo IV Track selection follows Undo v Track display follows Undo DR2 Opt Number of Backups 5 I Restore Previous View on Project Load Audio Record Format WAY X MT Options Default Fuf extension fuf X Stuff Fufs Bit Depth fi 6 or 24 M Media Scan V Scan Media in background required restart Cancel Apply In addition you can toggle the Follow Playhead option using the PlayheadFollows softkey in the Undo Menu Notes When recording multiple punch ins and outs in a single pass will produce multiple undoable events When you undo a recording the media you created is not destroyed by undo only the clips that reference the newly created media In fact you can access the media again using view Orphaned Media See how on page 331 When you perform an audio edit with the edit target set to Both an audio edit and an automation edit occur at the same time In the Undo List this will be seen as a single audio edit and will be undone in a single step Page 137 EDITING January 8 2013 Mouse Based Editing The mouse can be used to move the transport select and zoom tracks make ranges and edit clips This can be done irrespective of which editing or mixing mode is selected Transp
7. METERS January 8 2013 Parameter Setup General Preferences Options Audiobase Playback VideoCapture Projects Scrollers Meters Themes Watermark Audio Plugins Compound Meter Source Control Room Bar Graph Loudness Enabled v RMS Window Scale Peak Target Reference Short Window Integrated Gate Scale The Compound meters are controlled by accessing Setup General Preferences Meters The compound meter contains 2 individual components a BarGraph and a Loudness meter The compound meters source can be selected as either the Control room source pre volume control or fixed to the main meter from the Source selection in the meter preferences The Width of the individual components is defined by the source and so if for example you have the control room selected as the source and change the monitoring source between a 5 1 main and a stereo sub bus the compound meter source and format will follow The Bargraph can be chosen from several scales Peak PPM BBC PPM DIN RMS The Bargraph can also be individually disabled if this component is not required The Loudness meter component offers BS1770 1 compliant loudness metering consisting of simultaneous momentary short term and infinite integration RLB2 weighted meters These meters are referenced to a target LKFS value and offer either a standard 18 9 LU scale or an optional 36 18 LU scale for material with a wider dyna
8. The Pyxis Window To show a window displaying your video use the command View Pyxis Display Layering Gav gt Show Pyxis Track Playback Video Source Edit Workspace Locators Sort Video Locators Tracks Clip Search TimeScale gt Statistics Performance Background Tasks Page 304 PYXIS TRACK January 8 2013 This window is resizeable and can be made to go full screen with a double click on the window with your Left Mouse Button 169 170 171 172 173 174175 176 177 178 179 180 181 182 183 184185 186 187 188 189 190 191 192 Drag here to resize Pyxis window Click here to scroll video locators list 1A AA t Uu eu Tu Video locators Video Locators While the Pyxis window is displayed you may click on an empty masiey Ab aNYotime This will capture the current video frame and display it with a timecode number resize Pyxis To locate to any video locator simply click it window To re order the locators drag and drop them with the mouse To delete a locator drag it far to the right and drop it when the delete icon is displayed Delete icon Video locators are also displayed in the Edit Marks list Locators list and can be edited there The Video Scroller The Video Scroller is a line of frames across the bottom of the screen centered at the current frame These frames cover the same width as the audio tracks Page 305 PYXIS TRACK January 8 2013
9. The undo files are stored in the folder C Program Files Fairlight Dream II Undo Each time a project is opened the system starts writing undo files for it starting with a file called UndoFile_00 1 This file name does not contain the project for which it was created because the system is designed only to work with the currently open project file Immediately after reopening any file the UNDO command cannot be issued it only works on edits made in the current sessions If there is an UndoFile_00 1 already in the folder which there almost certainly is it will be replaced with this one This means that undo files from older projects are difficult to identify But if you have wrongly and very recently saved a project and you wish to access a previous version of the edit list take the following steps Step 1 Open the folder C Program Files Fairlight Dream I Undo C Program Files Fairlight Dream IT Undo gt Go Size Type Date Modified a File _ 15KB 2fFile 11 03 2008 2 33 PM Only these two El 20 1 i files are from El UndoFile_00 4 13KB 4File 11 03 2008 2 31 PM the most recent l UndoFile_00 3 13KB 3File 11 03 2008 2 31 PM project E UndoFile_00 8 15KB amp fFile 11 03 2008 1 46 PM rn i LindaFila NN 7 IC VR 7 Fil 11 MNRenNNe 1 42 oy 4 gt Disk free space 14 1 GB 74 6 MB E My Computer Ui Step 2 Choose the undo file you want to open Rename this file so that it has an extension
10. 25 Tracking Algorithm play chase Power kd 12 5 As for TC Master but there is an individual choice of tracking algorithm for Play and Jog Page 346 SYNC AND MACHINE CONTROL January 8 2013 Remote Slave Mode When a machine M1 or M2 with this setting is placed on line it means that Evo emulates a 9 pin machine and will obey commands sent to it It is the master for timecode At the same time its transport controls are active Select 9 pin ID Allows you to choose the type of machine being emulated by Evo This allows for slight variations in the 9 pin protocol Status Sense Play Tally Controls an aspect of 9 pin performance This parameter controls the value of bitO0 0 Byte 1 in the Sony Protocol command Ox7X 0x20 Status Data sent from Evo system to the Sony master device in response to the 0x61 0x20 Status sense command If Play Only is set the value of this bit is 1 only when Evo is in Play or Record modes If Play and varispeed is set the value of this bit is 1 when Evo is in Play Record or varispeed modes Some equipment e g DspMedia postation requires this parameter to be set to Play only to work correctly Some equipment e g SoundMaster requires this parameter to be set to Play and Varispeed to work correctly LTC Chase When a machine M1 or M2 with this setting is placed on line it means that Evo will chase Longitudinal Time Code entering the SMPT
11. If desired this functionality needs to be turned on Instructions Page 262 AUTOMATION January 8 2013 Step 1 Quit the Dream II software by clicking the Close Box in the upper right of the Edit screen Step 2 Navigate in Windows to Fairlight FMC Data and open the file System_Variables TXT Step 3 There is a line in that file MIX_THINNING_ENABLED 0 Set the 0 to a 1 and save the file Restart the system and Mix Thinning will be operating Using the Pad to write Automation data Tutorial Checklist For writing automation data with the Pad e Mix On must be lit in the Mixer Megamode e Select path s the last one is shown in the Pad e Enable atleast one mix parameter fader mute EQ etc e Select Write not Trim e Select your On Stop setting e Put the path into Write using the Auto Button see Touch later e Data is written while the transport is in play or record e Stop writing by stopping the transport or pressing Auto This guide takes you through this process Get Ready Press the green Mixer button Press the mix on button so that it is illuminated We will use Faders and Pans to illustrate writing automation data Press the path button to access them Enable Parameter s Press the Enable Params button In the enable layout you choose parameters for writing automation data When a path enters Write or Trim only enabled parameters will have their values stored You can choose them individually like E
12. Step 3 Press the feed selection key of the first feed of the group Its key lights up and all other buttons disappear except the ones you can include in a link group with the first Step 3 Press one of the feed selection keys to make it the last feed of the group Link groups can only include track feeds or live feeds not a mixture of both Link groups can only include up to eight members which must have contiguous numbers e g 3 to 10 Step 3A If the number of feeds you have selected corresponds to more than one Bus type e g Dolby 5 1 and SMPTE 5 1 choose between them with the appropriate soft key Step 4 Select a menu item from the Apply Defaults soft key menu all defaults applies pan settings to each member to set the link group into a surround format as described above under Link Group Format All defaults also applies the feed parameter values of the first member of the group to all the members Parameters modified are fader level pan EQ dynamics aux sends inserts and direct out state default pans applies pan settings to each member to set the link group into a surround format as described above under Link Group Format Default pans affects the pan parameter only feed params applies the feed parameter values of the first member of the group to all the members excluding pan Parameters modified are fader level EQ dynamics aux sends inserts and direct outs no defaults no feed parameters are modified Page 167 GRO
13. e Use Touch mode and move any fader pot or switch on your Fader panel or the XCS Panel The mix item it controls is put into Write or Trim if it is touch enabled If Touch Auto Enable is OFF the signal path and parameter must both be enabled for mix items to enter record If Touch Auto Enable is ON the signal path need not be enabled but the parameter must be e Punch in manually on enabled tracks with the IN key or punch in automatically at the Active In point using PUNCH or the PLAY key Details in Programmed Automation below All enabled mix items are put into record e Use Prime mode and the transport Recording or ADR functions to record automation on selected signal paths Details in Programmed Automation below All enabled mix items are put into record Leaving Automation Record There are seven methods of leaving automation record e Press any illuminated AUTO key to take its signal path out of record Page 245 AUTOMATION January 8 2013 e Cause the transport to leave PLAY or REC using any transport command not effective if Jog Mix is on see below e When in Touch Snap mode release any fader pot or switch e Punch out manually with the out key or punch out automatically at the Active Out point after pressing PUNCH or the PLAY key see Programmed Automation This works for enabled signal paths e In Prime mode use ADR or the PLAY key to punch out e Press the All Read button in the Mixer Megamode to inst
14. 2013 4_TRAI Mute When writing automation the graph is shown in red Existing automation data is shown in green allowing you to target punch out points easily 4_TRACK IN 4 TRACK IN TODI 16 bit Note that in this case the red line continues past the cursor This shows accurately what will happen when Write is exited because the system On Stop setting is EVENT meaning the current value will be held until the next change in automation value Here is how it looks when On Stop is set to HOLD 4_TRACK IN 4_TRACK IN TO DI 16 bit 0 Page 260 AUTOMATION January 8 2013 In this case the red line continues at the same value to the end of the screen because this value will be written to the end of the project Editing Automation Curves Automation data can be edited graphically using the mouse To do this click the Edit button There are two ways to edit Events and Draw Events To edit Events click on the Events button Events are shown as red squares Note that each event is a value of the parameter After an event the value stays constant until just before the next event when it ramps up or down to the next value When events are close together as shown above they are joined by a smooth line reflecting this ramp Otherwise the values are held constant and shown with a horizontal line While Events are displayed you may do any of the following e Move an individual event with the mouse You
15. 7 etax2003 5 etax2004 O etax2005 O etax2006 O Fairlight O FairlightAu O Media O ML3_AVT40a50 O MLS_AVTNewPlugin O Projects 4 Os gt 2 objects Disk Free space 101 GB 40 8 MB g My Computer ZL E amp The picture above shows the typical file layout with an MT file The FUF file contains the audio while the MT file contains the Edit list mix information and automation files Note The FUF file will generally get much larger up to 4 GB while the MT file already contains a full complement of mix data even if mostly zero values and will only get bigger when automation files are saved When the first FUF file reaches 4 GB another one is automatically created Stuffing FUFs Evo allows external files to be dragged and dropped onto the timeline Since these files are not recorded into the Evo MT Project they are not automatically added to the FUF files associated with the MT Project If you want to transfer the MT project and all external audio files to QDC or to another Evo or DREAM II system select Process Stuff Fufs All Clips or Process Stuff Fufs Selected Clips This will copy all external media into the Project s Fuf files Please note that this process can take some time depending on the quantity and size of external files that need to be stuffed Stuffing Fufs is a background task so you can keep working while Dream
16. CID_SW_MACKIE_ZOOM CID_SW_ZOOM CID_SW_MACKIE_LEFT CID_SW_RNGE_JUMP_LEFT CID_SW_MACKIE_RIGHT CID_SW_RNGE_JUMP_RIGHT CID_SW_MACKIE_MARKER CID_SW_GAP_FROM CID_SW_MACKIE_NUDGE CID_SW_GAP_TO CID_SW_MACKIE_SCRUB CID_SW_SHUT_JOG turns Jog on CID_JOG_MACKIE_WHEEL CID_JO_JOGGER this assigns the HUI jogger to the Dream II jogger CID_SW_MACKIE_READ CID_SW_EN_FADER_2 enables faders for automation CID_SW_MACKIE_WRITE CID_SW_EN_MUTE_2 enables mutess for automation CID_SW_MACKIE_TOUCH CID_SW_EN_PAN_1 enables pan parameters for automation CID_SW_MACKIE_TRIM CID_SW_EN_EQ_GROUP enables EQ parameters for automation CID_SW_MACKIE_LATCH CID_SW_EN_DYN_GROUP enables dynamics parameters for automation CID_SW_MACKIE_GROUP CID_SW_EN_AUX_GROUP enables aux send parameters for automation Examining this line CID_SW_MACKIE_STOP CID_SW_STOP we see that the first part is the HUI stop key and the second part is the Dream II soft key This will cause the HUI stop key to work on Dream IL There are some HUI keys not mentioned in this remap file They are listed below CID_SW_MACKIE_BANK_DOWN CID_SW_MACKIE_BANK_UP CID_SW_MACKIE_CHANNEL_DOWN CID_SW_MACKIE_CHANNEL_UP CID_SW_MACKIE_UP CID_SW_MACKIE_DOWN CID_SW_MACKIE_SHIFT CID_SW_MACKIE_CONTROL CID_SW_MACKIE_F1 CID_SW_MACKIE_F2 CID_SW_MACKIE_F3 CID_SW_MACKIE_F4 CID_SW_MACKIE_F5 CID_SW_MACKIE_F6 CID_SW_MACKIE_F7 CID_SW_MACKIE_F8 CID_SW_MACKIE_MIDI_TRACKS Page 356 HUI SLAVE MODE January 8 2013 CID_SW_
17. Erase Erase works exactly the same way as Cut except that the audio is not placed on the clipboard The clipboard remains unchanged so its previous contents are ready to paste at any time Edit Soft Key Commands The following soft keys are available when the cut copy or erase modes are current split clip Cuts the clip into two pieces at the cursor position mute clip Silences the clip cleave clip Removes the link between stereo linked clips ee Creates a reversed version of the audio in the selected clip s and replaces the original with this reversed version Ghost On Toggles the ghost image on and off Some people prefer working without it Range On Soft Key Functions The following additional commands are available when the cut copy or erase modes are current and a Range Is present Page 108 EDITING January 8 2013 Cuts any clips lying across the ends of the range into two pieces at split range those range ends fill The fill function is used to automatically repeat a section of audio to fill a Range on a track to create background fills or buzz tracks The audio used for the fill is the clip currently on the clipboard from the last cut or copy function Multiple copies of the source may be needed in which case an overlap is used see below b f fill Reverses the audio in every second copy of the clipboard used for filling This can give a smoother effect Controls the length of overlap between piec
18. Program Files x86 Fairlight Dream II Docs First Startup Even if someone else has installed the system for you there are some things you need to do the first time you start the system The Quickstart manual mentioned in the previous paragraph includes a chapter on this subject called Launching Evo for the First Time Please read this before using Evo or at least have it standing by in case things get confusing Momentary and Latching What Sorry but this is one of the keys to speed Many operations can be done two ways Momentary means Hold down a key to open a mode do one thing in that mode then let go the key to exit the mode and go back to where you were This is skilful because it requires two hands but it s fast Latching means Press a key to enter latch a mode do some things in that mode then press the original key again to exit the mode This is not as fast but it s easier being one handed When we refer to momentary operation you ll see words like hold down and release Page 1 INTRODUCTION January 8 2013 When we refer to latched operation you ll see the word press or type which both mean press and release Some Important Terms Throughout this manual we will use some terms that you need to understand Transport This refers to the movement of the system along the timeline For example when we put the transport into Play it means we cause forward movement along the timeline This appl
19. The front or back of the clip is now on the clipboard Press Enter to paste the clipboard contents Using Ranges Overview A range is the time span between two points called the IN and OUT points or the From and To points When a range is present the button labelled cut clip Or copy clip erase clip etc changes to cut range copy range erase range In this situation the basic editing commands cut copy and erase target the parts of clips that lie inside the range Some other commands like Nudge Fade and Clip Level target only whole clips that lie inside the range Pressing the range button toggles the range on and off Press the green Editor Megamode button Press the cut button to access the Cut menu Press the range key to turn it OFF Operation Locate the transport so that the cursor crosses the middle of at least one clip Identify the track containing that clip and double press its button to make it the only selected track If necessary use the Bank key Press from A range is begun at that point Now Jog to the right The range is extended and the clip goes red inside it Press to The range is now fixed Investigate cut range cut head cut tail use undo in between From and To Menu Now hold down the from button If you now pressed the mark soft key the system would display a list of marks that you could choose as the from point Instead press the time soft key Now use the Numeric Keypad to
20. This section goes into more detail about editing Page 101 EDITING January 8 2013 Edit Modes Evo editing uses five main modes selected in the Edit Megamode Copy copies the selection to the clipboard Enter pastes it into the tracks Cut cuts the selection to the clipboard Enter pastes it into the tracks Erase erases the selection Trim retracts or extends the heads or tails of clips Fade fades or cross fades the selection Once a mode is selected it remains current until another mode is selected The Cursor Most edits are performed at the Play Head or Cursor This is the vertical line in the center of the Edit Screen Cursor Normally the Cursor is stationary and the clips scroll across the tracks The audio you hear is the waveform passing the Cursor hence its name Play Head Moving Cursor Many products show stationary waveforms with a moving cursor To show this in Dream II select Setup Locked Playhead from the Edit Screen menu bar When this item is ticked the cursor is stationary but otherwise it moves While the cursor is moveable you can reposition it by right clicking anywhere in the Edit Screen and dragging the mouse right or left audio is not played while you do this or press the Jog command and use the Jog Wheel audio is scrubbed if the movement is less than four times play speed When re locking the cursor its current position is held This allows you to place it away from the middle
21. This time press and hold trim head The system exposes the whole head of the original recording While holding down trim head Jog over the exposed audio and choose where to trim it Release trim head when ready The clip is trimmed to your current position Slipping clips Overview Slipping clips is an alternative to Cut and Paste It has the advantage of leaving the clipboard undisturbed but does not allow moving clips to other tracks We can also slip the sync of a clip This means that the clip stays in the same place but the audio inside the clip slips earlier or later This means exposing a different portion of the original recording Note another quick way to slip a clip is to drag and drop it with the mouse You can drag it to another track as well Holding down the SHIFT key holds sync while you drag to another track Get Ready Press the green Editor button Operation Press the trim slip button If the word trim is highlighted press it again so that slip is highlighted Locate the transport so that the cursor crosses the middle of at least one clip Identify the track containing that clip and double press its button to make it the only selected track If necessary use the Bank key Press slip clip Jog forward by about one second and press Enter The clip moves by the distance you jogged Jog some more and press Enter again You can keep doing this This time press and hold slip clip Keep holding it down Jog
22. To set up the group click on tile numbers in the Mixer Screen MultiTrim group members s M T 6 EW E e E e le S Tea Sey Teale Se Teale Sa lll T Multi Trim is a mouse driven operation where many channels can be changed at the same time To set up the group click on the numbers of tiles in the Mixer Screen Mouse operations with a MultiTrim group include the following e Click and drag any member s fader to move all the group s faders relatively in proportion to their current value Page 174 GROUPING January 8 2013 e Ctrl Click and drag any member s fader to move all the group s faders absolutely they are all set to the same value e Click any toggle switch on any member s tile Mute Solo EQ In Out Insert In Out to toggle all members switches e Ctrl Click any toggle switch on any member s tile Mute Solo EQ In Out Insert In Out to set the value of that toggle to be the same for all members Link Groups can be included in the MultiTrim group When any of the MultiTrim members faders are moved the whole Link Group adopts the fader value of the first member removing any offsets between them that might have existed earlier To clear the MultiTrim Group double click on one of the red channel numbers Calling a Group Master Group Masters are shown in the path displays in Xynergi when called To CALL a Group Master do one of the following e Click its name on the Mixer Screen If
23. You should make these choices at the very beginning of the Project and then you may use any other combination that suits your purposes temporarily during the recording and editing process Page 352 HUI SLAVE MODE January 8 2013 HUI Slave Mode Introduction HUI is a protocol invented by Mackie Corporation which allows different audio systems to control each other Many consoles and other devices now incorporate aspects of the HUI protocol and Evo has implemented the full specification as a slave including the Universal Pro Extensions This allows the following functions to be controlled remotely e Transport states including Jog and Shuttle e Jog Frames i e the system can be jogged remotely e Fader levels bidirectional for motor control e Mutes Solos Track Arms Channel Selects note Channel Select will arm a track if the Arm or ADR menu is current e Channel names the first 4 characters to be displayed on the controller e Buttons on the controller can be mapped to Dream II functions Setup Install HUI device Your HUI device will come with its own installer cables and instructions Follow these and make sure the HUI device is working correctly INI File The file C Program Files Fairlight FMC FMC ini must contain the line HUI Where n is the number of faders on the HUI device default 8 Just doing this will result in faders mutes pans solos and selects from your HUI device working correctly on the
24. dr2 upper or lower case it doesn t matter Step 3 Move this file to a Media Device The simplest is to move it to the folder on your audio drive where the original project is stored Step 4 Open this file by issuing the File Open command or using the Project Menu open soft key Page 326 PROJECT AND FILE MANAGEMENT January 8 2013 Video Files Evo supports drag and drop import of a variety of video file formats as well as direct video recording to the Evo timeline For correct operation video files must be played from and recorded to a separate hard disk than the audio data WARNING If you attempt to play video and audio data from the same hard disk you will experience SEVERE performance problems The disk bandwidth required for video is governed by the type of video you wish to play back Some types of compressed Standard Definition video may play back from a single 10 000 RPM SATA drive while uncompressed High Definition Video may require a large fast RAID array Please contact your Fairlight distributor to discuss your specific needs Typical Evo Drive Configuration My Computer DER Fie Edit View Favorites Tools Help Q Back 7 gt wi Search Ke Folders Gi Address W My Computer System Tasks Local Disk C j Audio D Wer ESS Video E information Shared Documents Add or remove programs Dream s Documents E Change a setting Other Places My Network Places 3 My Docume
25. requires mxf licence option mpeg licence option plus MXFReader2 1 beta or later Final Cut Pro XML project note that nested sequences are not imported also any Dream Pyxis native files which are uncompressed vmu dv25 dif mjpeg vmj lossless Huffman compression vmh MXF files require an MXF licence dongle IMX Mpeg requires an IMX Mpeg licence Dv50 dv100 require a DVCPro Licence dongle Page 300 PYXIS TRACK January 8 2013 Playing a QuickTime or AVI file requires that the latest available codec for that file type has been installed Fairlight recommends that automatic update be switched on to ensure that the version remains current In some cases a specific codec must be installed e g QuickTime files from Avid require the Avid codec to play them For a good indication of playability double click a file in Windows Explorer If the operating system plays the file immediately it will almost certainly play in Pyxis Track Capturing Video into Pyxis Track The following assumes your system is equipped with a Decklink Video capture card For the purposes of the example we will be operating in Standard Definition mode Pyxis Track allows an incoming video signal to be captured directly onto the timeline This requires correct configuration of both the Decklink card and Dream II Configuration of the Decklink card Configure the required settings for your Decklink card by navigating to ST
26. version 1 1 GDB 09 43 00 gt name USB Audio Device 4 GDB 09 43 00 gt Midi Out 4 of 5 name Microsoft GS Wavetable SW Synth GDB 09 43 00 gt MIDI Out device 4 GDB 09 43 00 gt manufacturer 1 GDB 09 43 00 gt product 102 GDB 09 43 00 gt version 5 10 GDB 09 43 00 gt name Microsoft GS Wavetable SW Synth GDB 09 43 00 gt Using MIMidi Out 0 A number of MIDI devices may be presented not necessarily with useful names this depends on the driver for the device At the end the line GDB 09 43 00 gt Using MIMidi Out 0 tells you which MIDI device the system is using If this is clearly not your HUI device nothing is going to work In the example given it is possible to see that Microsoft GS Wavetable SW Synth has not been selected Page 355 HUI SLAVE MODE January 8 2013 Remap File If you want transport control or any other key events to work you must place a file called remap txt in the following folder C Program Files Fairlight FMC Data User username Where username is the log on name used on your computer The remap file takes keys coming in from the HUI device and routes them to keys on your Dream II system Here is the text in one remap file CID_SW_MACKIE_STOP CID_SW_STOP CID_SW_MACKIE_REWIND CID_SW_REW CID_SW_MACKIE_FAST_FWD CID_SW_FF CID_SW_MACKIE_PLAY CID_SW_PLAY CID_SW_MACKIE_RECORD CID_SW_REC CID_SW_MACKIE_ALT CID_SW_BLUE_1 Blue key CID_SW_MACKIE_ENTER CID_SW_ENTER
27. 18 00 00 00 20 00000000_00000000_65B908E4_7F35633E i 48000 Hz 00 54 09 09 00 54 09 13 00 00 00 04 00000000_00000000_65B908E4_7F35633E i 48000 Hz 00 54 10 02 00 54 10 14 00 00 00 12 00000000_00000000_65B908E4_7F35633F 4 bi 48000 Hz 00 54 12 13 00 54 13 13 00 00 01 00 00000000_00000000_65B908E4_7F 356340 i 48000 Hz 00 54 13 23 00 54 14 19 00 00 00 20 00000000_00000000_65B908E4_7F35633E 48000 Hz 1 1 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 This dialog displays every clip in the project You can filter it reduce the number of clips displayed in a number of ways The most important is to type in all or part of a name into the Search box as shown above This will hide all clips except those with names containing what you typed In the example shown above all the clips contain the letters bi Step 4 Having chosen your clip press the Go To button again or ENTER to locate to the clip s start timecode or Play to locate and go into play immediately or press Esc upper left key to close the dialog without locating anywhere anywhere Or you may double click on the name of any clip to locate to its position The Clip Search dialog has many other capabilities Please see the section starting page 160 Page 68 RECORDING January 8 2013 Recording Basics Overview Evo lets you record on multiple tracks at the same time using the standard Play Record transport buttons to punch in It will punch in from Pla
28. 44 056 44 100 48 000 and 96 000 samples per second The normal frame rates are 24 25 29 97 and 30 These last two may cause confusion when used together Evo can alter its sample rates far enough to accommodate the small speed change caused by going from 30 to 29 97 frames per second and back again In other words if you slow down the frame rate from 30 to 29 97 Evo can slow its internal sample rate to match This is called Pull up or Pull down depending in which direction you are taking the speed When you choose a frame rate you are telling Evo what frame rate to expect To put it more accurately you are telling it the frame rate at which the chosen sample rate will be accurately reproduced For ex ample if you tell Evo that the NTSC frame rate is 30 in the Setup Menu and the sample rate is 44 100 it will pull down the sample rate to 44 056 if you feed in timecode at 29 97 If however you change the NTSC field to 29 97 Evo will play at 44 100 at 29 97 frames per second and will pull up to a sample rate of 44 144 when timecode runs at 30 frames per second It is advisable to choose a sample rate at which you want to make the final transfer of the Project Then record your material at whichever frame rate is going to be used during that final transfer The importance of this choice is that you do not want to compromise the quality of your final product by using sample rate conversion at the moment it leaves Evo for the last time
29. 6 HUI SLAVE MODE January 8 2013 A lojx ter Te Msg Msg All Filter Te OB Phra ster o E Sys Para Para ster D Gib bhh a Msg Meg All Gen Sys Para Der ae a St RO ShortMsg ShortMsg ShortMsg ShortMsg ShortMsg ShortMsg Type ctrl1 SHIFT 0 then turn on Control message display using the Debug Switch Control dialog as shown below set the switch value to 1 Then close the dialog Debug Switch Control x Debug Switch Control Msg display Switch Value 1l File View Help Mzg Mzg All Filter Te Msg Meg All Filter Te JIL gt n Gen Sys Para Pors ster O Gen Sys Para Pors ster D note tr tr Ltt bhb Glib nu amp vote Bet SH ot Vt DB 14 59 29 gt Ctrl CID _SW_MACKIE Fl gt 0 DB 14 59 30 gt Error from ShortMsg 5 DB 14 59 32 gt Ctrl _F1 gt 1 DB 14 59 32 gt Ctrl CID SH MACKIE gt 0 DB 14 59 33 gt Ctrl CID SW_MACKIE F2 gt 1 DB 14 59 33 gt Ctrl CID SW_ MACKIE F2 gt 0 DB 14 59 34 gt Error from ShortMsg 5 Stopped Ready Packets Tx 197 7 In the example shown the keys CID_LSW_MACKIE_F1 and CID_SW_MACKIE_F2 have been pressed and released hence two events per key Page 358 HUI SLAVE MODE January 8 2013 Advanced using Scripted Macros In Evo a number of the HUI keys have been used to trigger scripted macros as follows CID_SW_MACKIE_BA
30. 8 2013 Hold down the button in the Editor or Mixer Megamode for a couple of seconds It will display 24 paths that you can choose while the button is held down then released to go back to your current menu While it is held down you can bank up and down to access other paths Release without choosing a path to display the Solo Menu with 48 signal paths that you can select after releasing Solo Press button in the Editor or Mixer Megamode to toggle the whole selection of soloed signal paths on and off The button does the same thing Press the button in the Editor or Mixer Megamode to toggle mute on the current path Hold down the button in the Editor or Mixer Megamode for a couple of seconds to display the Mute Menu with 48 signal paths that you can select after releasing Mute Press button in the Editor or Mixer Megamode to toggle the whole selection of muted signal paths on and off After pressing above Solo Mute and Arm On Screen you can select or to display the Solo Menu and Mute Menu mentioned The buttons at the left of the Edit Screen can be used to set arming Mute Solo and more Link Groups The first track is master Clicking its Solo or Mute button affects the whole group Individual tracks within the group can be soloed or muted Arming any linked track will arm all of them as long as they have a patched Input Click to cycle through automation display parameters Fader Mute or Pan Cl
31. Device 3 GDB 09 43 00 gt MIDI in device 2 GDB 09 43 00 gt manufacturer 65535 GDB 09 43 00 gt product 65535 GDB 09 43 00 gt version 1 1 Page 354 HUI SLAVE MODE January 8 2013 GDB 09 43 00 gt name USB Audio Device 3 GDB 09 43 00 gt Midi IN 3 of 4 name USB Audio Device 4 GDB 09 43 00 gt MIDI in device 3 GDB 09 43 00 gt manufacturer 65535 GDB 09 43 00 gt product 65535 GDB 09 43 00 gt version 1 1 GDB 09 43 00 gt name USB Audio Device 4 GDB 09 43 00 gt Midi Out 0 of 5 name USB Audio Device GDB 09 43 00 gt MIDI Out device 0 GDB 09 43 00 gt manufacturer 65535 GDB 09 43 00 gt product 65535 GDB 09 43 00 gt version 1 1 GDB 09 43 00 gt name USB Audio Device GDB 09 43 00 gt Midi Out 1 of 5 name USB Audio Device 2 GDB 09 43 00 gt MIDI Out device 1 GDB 09 43 00 gt manufacturer 65535 GDB 09 43 00 gt product 65535 GDB 09 43 00 gt version 1 1 GDB 09 43 00 gt name USB Audio Device 2 GDB 09 43 00 gt Midi Out 2 of 5 name USB Audio Device 3 GDB 09 43 00 gt MIDI Out device 2 GDB 09 43 00 gt manufacturer 65535 GDB 09 43 00 gt product 65535 GDB 09 43 00 gt version 1 1 GDB 09 43 00 gt name USB Audio Device 3 GDB 09 43 00 gt Midi Out 3 of 5 name USB Audio Device 4 GDB 09 43 00 gt MIDI Out device 3 GDB 09 43 00 gt manufacturer 65535 GDB 09 43 00 gt product 65535 GDB 09 43 00 gt
32. Display The OLED display at the top of the fader strip gives you a lot of information about the channel Steady State Under normal circumstances the OLED will show details of the channel being controlled by its associated fader The most common situation is shown below lt Pan Graph Pan Pot function Mute Icon Meter _____ lt lt Fader Icon User Name lt System Name Page 212 MIXING January 8 2013 FP Il Button Usage Each button has two potential uses one unshifted and one with Blue pressed 5 H D a gg Pt X A p pe a p p pl Holding down the Blue button triggers alternative functions in the other keys The BLUE button is equivalent to the BLUE buttons on NAME and on ILP II Bank toggles the function of buttons 1 to 6 In its A state it is lit yellow and buttons 1 to 6 select Fader Sets 1 to 6 In its B state it is lit purple and buttons 1 to 6 select Fader Sets 7 to 12 When BLUE is held down the Flip function toggles between normal and flipped statuses In flipped status the functions of the fader and pot are reversed While BLUE is pressed the Flip button is lit yellow for normal state and blue for flipped The 1 button chooses Fader Set 1 if Bank is A or Fader Set 7 if Bank is B Similarly for 2 button to 6 button Pressing and releasing the 1 button while BLUE is pressed toggles between normal mode p
33. Evo system That is to say they will act and will also tally the changes MIDI Devices For HUI to work the Evo system must know which MIDI devices to expect These are written into the file HUISetup txt which is normally found here C Program Files Fairlight FMC Data Open the HUISetup txt file It already contains the necessary setup for three HUI devices a Roland Edirol interface a MOTU Microlite 4 port MIDI interface and a Tranzport controller this is for wireless control of basic functions only If you want to make life easy for yourself buy an Edirol or a MOTU Microlite and just enable it by removing the hashes in front of the lines in HUISetup The following procedure assumes you have some other kind of HUI controller Your task now is to find out the names of its MIDI ports and write them into the HUISetup file in the same way as the existing entries If this sounds too complicated get your Fairlight service provider to help it s a one time setup in most cases First you ll need to identify the MIDI devices attached to your system Connect your HUI controller via MIDI or USB To see a list of the MIDI devices seen by Dream II we ll use our debugging program Page 353 HUI SLAVE MODE January 8 2013 MSAT Start MSAT before starting FMC the Mixer program If Dream II is already running stop FMC as follows Step 1 Click on the Mixer screen to give it focus Step 2 Type ctr1 Shift Q Step 3 Type y to confir
34. Inc has contractually obligated Fairlight AU s Software Suppliers to make this disclaimer e No Liability for Certain Damages EXCEPT AS PROHIBITED BY LAW Fairlight AU S SOFTWARE SUPPLIERS SHALL HAVE NO LIABILITY FOR ANY INDIRECT SPECIAL CONSEQUENTIAL OR INCIDENTAL DAMAGES ARISING FROM OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THE SOFTWARE THIS LIMITATION SHALL APPLY EVEN IF ANY REMEDY FAILS OF ITS ESSENTIAL PURPOSE IN NO EVENT SHALL Fairlight AU S SOFTWARE SUPPLIERS BE LIABLE FOR ANY AMOUNT IN EXCESS OF U S TWO HUNDRED FIFTY DOLLARS U S 250 00 e Limitations on Reverse Engineering Decompilation and Disassembly You may not reverse engineer decompile or disassemble the SOFTWARE except and only to the extent that such activity is expressly permitted by applicable law notwithstanding this limitation e SOFTWARE TRANSFER ALLOWED BUT WITH RESTRICTIONS You may permanently transfer rights under this EULA only as part of a permanent sale or transfer of the Device and only if the recipient agrees to this EULA If the SOFTWARE is an upgrade any transfer must also include all prior versions of the SOFTWARE Obtaining Technical Support Users requiring technical support should contact their local distributor Information can also be found on the world wide web at http www fairlightau com Manual Errors and Omission To help ensure that Fairlight provides the most accurate and comprehensive documentation please report any e
35. Inserting a Plug in on a Track Method 1 via Plug in Config Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Select the track Press the Plug ins button in the Mixer Megamode You might need to press it twice Press the Config soft key Press the Add Plug soft key The Plugin List appears showing all the plug ins installed in your system At the same time the Pad screen displays the first in the list Using the jog wheel scroll through the list of plug ins Alternatively you may use the mouse to select any plug in When the desired plug in is selected press the Add soft key or click the on screen Add button After some time the plug in will be loaded This may take a minute or so if the plug in is dongled Page 268 PLUG INS AND REWIRE January 8 2013 Dream I v1 11 3 0 New Projectt8 lt 48 tracks gt 4 4 PFPHmoUHKRDKXHKHBIWVBRHXAAAR H peaseravosen a ammm aur f SHREE eee ee 3 8 i a Iziz B188 lelle Hele H 5 The plug in popup will now appear on the Editor display where the mouse can be used to change its parameters It will also appear on the Evo Pad controls or Faders see Controlling Plug ins on the Surface page 272 Method 2 via the Evo Mixer Screen screen Step 1 Right click an empty slot in the Plug in area of an Evo Mixer Screen channel Right click Step 2 Continue from Step 5 above Method 3 via the Insert Config menu Step 1 S
36. Mix button ON in the Mix Menu Any forwards movement can be used including Jog Shuttle Play FF Jump GoTo Locate or right button drag with the mouse Any speed is OK though of course the data resolution will be very low if you go fast Even if you press Stop the system stays in write this allows you to adjust control values before moving forward again As soon as you move more than one frame backwards the system will switch to Read Preview The Preview state is console wide When it is on parameters cannot be in Write or Trim but only Preview Read and Isolate Its purpose is to free the faders and other controls from motor control and let you move them while finding a new balance Normally moving controls implies writing that data but Preview removes that restriction so you can play with the controls as much as you like and only write data when you are ready To free a particular mix item from motor control means putting it in Preview mode as follows Step 1 Make sure Mix is ON and Preview is ON Step 2 Enable the parameter Step 3 Put the mix item into Preview in one of these ways e Press the Auto button on its fader e Press the XCS Auto button puts the currently selected channel into Preview e Toggle Live Preview ON and select the channel on the XCS Parameters in preview can be moved freely while you get a balance Then they can be written into the automation data in a number of ways Punch In The Punch Menu
37. Numpad button This can also be done as a momentary operation Channel Faders are assigned to signal paths using the Map key in the Fader Set Section Mapping Fader Sets Step 1 Press Blue vap in the fader buttons or the Map Faders button in the Setup Megamode of Evo the Fader Sets button must be enabled before Map Faders will appear Page 218 Step 2 Step 3 Step 4 Step 5 MIXING January 8 2013 Optionally select a fader set to map or continue with the currently selected one The car key on the first fader will flash to indicate that it is ready to be defined Picture keys on the Evo panel will be displayed The path currently assigned to the fader will show purple Select any feed bus or Group Master to assign that path to the current fader If necessary press the Track Live Or Bus buttons and or the Bank up down buttons to access more paths The next fader is automatically selected and the path assigned to it flashes Continue to assign faders in order or select a fader out of sequence by pressing its caLL key and making a selec tion on the selection panel You can press Evo s exit button to stop changing the current map at any time You can fill the remaining faders in the set by holding down ctri and pressing a path button This will use the path you pressed and the following ones until the set is filled It will take Link Groups into account using one fader for each group When you have mapped the whole
38. ReWire inputs When a ReWire Mixer and ReWire Client are connected together transport controls and position information are automatically transmitted in both directions between the Mixer and Client s Page 279 PLUG INS AND REWIRE Diagram of a running ReWire session ReWire DLL Mixer Application Dream IT RT Thread driven by CC 1 96 Channel Audio Bridge from Fairlight CC 1 GUI Thread Engine Using ReWire Devices in Evo gt e a e e i Setup and installation Install your software as outlined by your the manufacturer Run the software at least once in standalone mode January 8 2013 Client Application Reason RT Thread GUI Thread Client Application Ableton RT Thread GUI Thread The software should now appear in the list of available ReWire devices Page 280 PLUG INS AND REWIRE January 8 2013 Launching a Rewire Application In order to patch a Rewire device a Rewire application must be installed first e g Reason Ableton Live Step 1 Click on Setup in the Dream II toolbar Step 2 Select Setup Instruments to launch the dialogue box Your Rewire application should appear in this list Step 3 Click on the name of the desired Rewire application so it is highlighted Instrument MIDI Device Ableton Live MIDI Channel Highlight rewire application Xi Click Edit to launch Step 4 Click on Edit at th
39. System C Data _ Jestream video DR2 6 12 2012 2 37 PM DR2 File sa Dota Ds SPENNA P _ Shutdown DR2 9 08 2012 5 47PM_ DR2 File syst a AN me _ SoftwareException DR2 30 10 2012 6 42PM DR2File GP RandD fs04 R G2 This Year fs05 T 28 JDs Audiobase V GP fairlightau wsdev web website wr a Storage X x cS gandalf Y fairlightau wsdev web website wr My Web Sites on MSN Gu Network jE AB3 SERVER jm CC2 4600 jE HERCULES Filename Jestreamaae Dream 2 DR2 Fairlight MT MT Hide Fold Fairlight MT Mf3 MT If you save a project into the MT format it will load and play on QDC systems If you save a project into the MT MFX3 format it will load and play on MFX3 systems MT Projects The MT Project format is designed for backward compatibility with Fairlight QDC systems running software version 19 2 11 or higher Evo can also open MT files created on older Fairlight systems dating back to MFX3 systems running rev 15 x software If you are planning to swap projects with QDC systems always use the MT format when creating new projects Recording Files FUFs When using the MT project format on a Evo system new audio recordings are stored in FUF files FUF stands for Fairlight Universal Format and a FUF file acts as an audio container with many individual audio files bundled inside it FUFs are saved as soon as the recor
40. System buses can be chosen for immediate listening on the picture keys To access and configure External Sources press the Source Setup button Choose any defined External Source using the Soft keys Source Config To define or change an external source press the Source Config soft key Choose the external source you wish to define and the monitor set that will play it Control Room or Studio Monitor Choose Analog Inputs or Digital Inputs at the lower left Choose the inputs you want to use at the upper left and their destination Monitor Elements at the upper right Click Patch Click Rename to name the set Repeat as required Choose any other mode to exit Source Setup ALT Switches Overview The ALT switches in the Mon Megamode allow you to quickly change from standard settings to alternative ones The standard monitoring situation is Main speakers playing Main bus listening to all appropriate speakers You can choose an alternative speaker set an alternative source and or an alternative listening format This guide shows you how Get Ready Press the green Mon button Page 286 MONITORS January 8 2013 Details To toggle to an alternative set of speakers press Alt spkr This will toggle to the last non standard speaker set you used or the first defined set if you haven t used any yet Note you can also do this by pressing MUTE and DIM together To toggle to an alternative monitor source press Alt sourc
41. This brings all the audio used by the project into one place so that it can be easily backed up or copied Fully Import Media automatically places the audio from the omf in either your FUF or Media folder inside the folder of the current project Clip Naming Standard derives the names of clips from the omf Master Clip within the omf file Sub Composition OMF s created in AVID often derive clips from either the Master clip and the Sub Composition This option derives the names of clips from the Sub Composition Use this setting to give your clips more logical names if they are coming from an AVID and not displaying logical clip names Offset Entering a timecode offset moves the whole composition forwards on the timeline Entering a track offset moves the whole composition down in the track display Page 333 PROJECT AND FILE MANAGEMENT January 8 2013 Importing Individual Sound Files Sound files of various types can be imported directly into your Dream II project These include the following MP2 MP3 WAV BWAV AAC and more To import one use Windows Explorer or My Computer to locate the file then drag and drop it on to the Dream II Edit Screen The file will be placed at the cursor position or in the range on the track where you drag it unless you use the options below Found at Setup General Preferences Options Place Files at Embedded Timecode r Place Files on Emb
42. Typically preview is used to audition new mix settings for one section of the project while other sections already have automation data It prevents the automation system from moving the controls that the user is trying to balance for the new section As soon as the user is happy with the new balance it can be written to the new section Preview state is engaged on enabled mix items by first pressing the Preview key and then enabling mix items using Touch Latch for individual parameters or the auto key next to a fader to enable the mix items for all parameters on the selected feed When enabled in Preview mix items are illuminated in flashing red Once in preview mode the mix items can be placed into Write or Trim by dropping in manually with the In key or automatically using the Active In and Out points see Programmed Automation Once enabled for Preview mix items remain in that state regardless of transport starts and stops This is different from putting mix items into automation record which must be done again after each transport stop Preview is described in more detail below Safe When mix items are in Safe mode they cannot enter automation record They are always in READ or ISOLATE To put Signal paths into Safe mode Page 244 AUTOMATION January 8 2013 Step 1 Press the Auto Safe button Step 2 Use the XCS controller to set signal paths Safe Safety Zone In addition the Safe menu defines an Active Zone outside
43. User 3 User 4 Track 0 J 00 00 00 00_ Results 617 review Description Auto crash car approac from trac File Name 12_83 WA File Type 2 A A Ali al v1 sipname 43ACCL DCCL EXT from tra 43ACCL DCCL Ex ACCL IN BY from track 1 in ACCL IN BY ACEL DECL EXT AU95127 f ACEL DECL EXT Aircraft carrier genera from T1 305 Aircraft carrier genera from T2305 Alarm car car alarm go fro T118 Alarm car car alarm go fro T218 Alarm car disarm car afro T117 Alarm car disarm car afro 1217 Alarm car set car alar from T116 Alarm car set car alar from T216 askd4car from track 1 in Sa askd4car askd car from track 2 in SA askd4car Auto 91 old cutlass from T150 old cutlass From T151 old cutlass from T152 old cutlass from T153 old cutlass from T154 old cutlass from T155 old cutlass from T156 old cutlass from T157 old cutlass from T158 old cutlass from T159 old cutlass from T160 old cutlass From T161 old cutlass from T250 old cutlass From T251 old cutlass from T252 old cutlass from T253 old cutlass from T254 old cutlass from T255 old cutlass From T256 old cutlass from T257 old cutlass from T258 old cutlass From T259 old cutlass from T260 91 old cutlass from T261 y crash car approac fr 1183 Auto crash car approac 1283 Auto crash car off ram
44. You may also click in the checkbox for any event to mark or unmark it manually Capture Settings Page 340 00 00 00 C Step 4 Step 5 Step 6 PROJECT AND FILE MANAGEMENT January 8 2013 Handles you can capture more audio than indicated by the EDL event This can be very useful for adding fades or capturing ambience around the event for use in smoothing Preroll sets the time that the source machine will run up to the recording Set this value to suit the type of source machine being used Typically tape based machines require at least 3 seconds to lock properly Postroll sets the time that the source machine will keep running after the recording Set up Patching Connect the source machine outputs to some of your DREAM II inputs and use the Patch I O page to patch them through to the recording tracks The Patch I O page is discussed in detail in Patching Signal Paths on Page 54 Set up Destination tracks for Conform The Destination tracks are those to which the audio will be copied to match the Rec Start time for the EDL events You need only specify the first destination track the software uses the following tracks to place audio for events requiring more tracks Click the Capture button The EDL Capture and Conform will now go ahead The software will request the first source reel to be loaded on to the source machine x P Please load reel ANIMAL L Is this reel loaded It will then capture
45. a control is touched if Touch is set to Latch or Snap e They enter write when the In button is pressed and exit when the Out button is pressed e They can be used in Auto Punch operations e Their Curve displays on the Editing screen are set up when you use the Auto Curve soft key or the Curve button in the ILP Item Status Mix items can be in one of five states Read Write Trim Isolate and Preview The current state of each parameter is displayed by coloured illumination of fader knobs rotary encoders and switches plus parameter values in the ILP The five parameter states are described below Read When mix items are in Read the automation system takes control of their values and the physical position of their controls Controls are illuminated MEESE A mix item can be in Read whenever any automation data has been recorded for it anywhere in the project Write Trim Mix items must be explicitly placed in Write or Trim The Write Trim key is toggled to the Write or Trim position for the whole console WRITE automation is armed for record and absolute values are written for the selected mix items Indicators are illuminated red Page 243 AUTOMATION January 8 2013 TRIM automation is armed for record and relative values are written for the selected mix items Indicators are illuminated amber In trim mode moving a control applies an offset to the values already recorded for that mix item For example in trim mod
46. above the Editing screen The displayed dialog will ask whether you want to localize all files or just the selected ones Page 323 PROJECT AND FILE MANAGEMENT January 8 2013 J Selected Clips Only Handles in Seconds Head E Tail 10 Handles Localizing only copies those sections of the original recordings that have been actually used in the project Anything that has been edited out will not be present To provide insurance for future editing you can save Handles on each piece of audio These are extra pieces of audio that can be exposed using the Trim menu It s advisable to use handles unless the edit is absolutely final Recovering Lost WAVs If a DR2 project has not been saved recently any recordings made since the last save will not appear in the project next time it is opened These recordings can be recovered and resynced as follows Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Open the DR2 Project Open the folder in Windows Explorer that contains this project Open its Media folder Identify the WAVs that are missing from the project These will normally be the most recent ones i e the ones with the latest modification date Drag the missing WAV files from their folder to the DREAM II track display and drop them there For each WAV file that you have dropped select it and notice the track number embedded in its name Place it on that track For each WAV file select it by moving th
47. bandwidth and memory in particular If you do not need this function i e if your storage contents are not being changed by other computers you may turn off background scanning in Setup gt General Preferences gt Projects If you open a project whose media is not online and then you bring the media online it will not be found if background scanning is switched off You can however force the system to find the relevant media for the current project using Process Relink Media Detailed Media Management To work on media and project management select Setup Media and Project Management from the Evo main menu Controlling Scanned Folders You may wish to save time when the system starts by omitting the scan of some folders in your system This is particularly useful when the system is connected to a network In the Media and Project Management dialog you can display all storage devices folders and files Devices Audio_D D Dream II Audio R W 101844 MB OMB Yes Video_E Ei Dream II Video R W 165770 MB OMB Yes Local Disk cil Windows Forma Both R W 28722 MB OMB No Vault TA Windows Forma Both R W 334316 MB OMB No Name Location Description media _ RW Free Space mB Recycle Bin Space Fairlightau For Speed _ Networked Rec Priority Local Local Shared Down gt Find subFolders Convert to Media device Set Device Info I view CD Drives Default Project Device Audio_D
48. be ignored and the system will enter normal Play mode after the cue s Out time Exporting the ADR List Clicking the Export button will cause a file to be created in CSV format containing all the cues in your ADR List Preroll 0 sec Postroll 0 sec Cue Import Delete All Export The format is as follows 2 columns of timecode Then next column is the character default is Then next column is the text Example 23 58 39 03 00 02 58 19 Andrew Haven t I seen you before Page 88 ADR January 8 2013 00 02 19 19 00 03 19 19 Bill froggs are really cool 00 04 57 07 00 09 42 18 Do not look now Page 89 EDITING January 8 2013 Editing Basic Concepts the Audio Clip An Audio Clip plays audio from a single Media File It may play all of that file or only part Audio Clip 00 04 20 08 00 04 40 00 00 05 00 00 00 05 16 00 Audio lip 1 Original Recording WAV liopa dad 4 be haba Hea fae Deaan A dla Media file on disk the highlighted section is played by the clip The Audio Clip has properties that you can change by editing Audio Clip 1 0B Name Head trim Fade in Fade in Fade out Fade out Tail trim Curve Point Point Curve e Head Trim the first audio sample of the media file played by the clip e Tail Trim the last audio sample of the media file played by the clip e Clip Sync Point one of the clip s audio samples is locked to a timecode position e Fade I
49. bus channel fader may be configured pre or post the normal channel fader This is achieved using the Bus Params menu When set to Post the reduction channel fader defaults to OdB and provides an offset to the normal channel fader The muTE key now controls the bus assignment to the selected Sub Bus The panpot is inactive When set to Pre the reduction channel fader provides an independent mix level for the reduction Sub bus In this situation the panpot and Mute button are fully functional and independent of those on the main fader Fader To Input While BLUE Faders To is active the Input soft key may be chosen All track feed faders now control the level prior to the disk recorder This can be used to control the level going to disk during recording Note that live feed faders are inactive when Faders To Input is selected This fader control cannot be automated Faders to Direct Output While BLUE Faders To is active the Direct Output soft key may be chosen All channel faders now control the direct out level The Mute key toggles the direct output ON and OFF Page 217 MIXING January 8 2013 The fader control may be automated and will record data for the direct out level parameter Use the enable key next to the Master fader to enable this parameter for automation Fader To Boom While BLUE Faders To is active the Boom soft key may be chosen All channel faders now control the boom level The Mute key toggles t
50. change the functions of Cut and Paste All Layers Sometimes clips are stacked in layers Of course we only hear the top layer or crossfades between the top and second layers more about crossfades later You have the choice of cutting only the top layer or all the layers The all layers key controls this choice When it is on you will cut all the layers and they ll be placed on the clipboard ready to be pasted When it is off you will cut only the top layer Note that all layers only works with a range Hint if you want to see all the layers hold down the takes button and select the on off soft key or simply double press the takes button Razor Sometimes it is useful to cut the time out of a track not just the audio This is similar to cutting tape To cut time as well as audio turn on the razor button This will automatically turn on range and all layers When you cut audio the time it occupied is removed from the track and either e Everything afterwards trailing clips move earlier or e Everything before leading clips move later When you paste audio the time it occupies is inserted into the track and either e Everything afterwards trailing clips move later or e Everything before leading clips move earlier Control of the direction for razor cutting is in a special soft key menu that appears in the Pad only while you hold down the Razor button Choose leading clips Of trailing clips This is true e
51. controls the left right and front back pan control to rotate the surround mix around the centre of the room Using the panner Step 1 Call a signal path to the channel panel by pressing the cali button on any fader Step 2 Adjust the control to achieve the desired result The parameter values are displayed in the fat channel section at the bottom of the mixer display Boom Sending level to the Boom channel can be done pre or post fader Page 199 MIXING January 8 2013 Equalisation Lo Pass Filter or Low Shelf Hi Shelf Parametric EQ bandpass Lo Shelf Hi Pass Filter or High Shelf EQ Type Gain Compensation EQ IN OUT The channel mixer provides four bands of parametric equalization and two filters Each parametric section can be switched in or out independently The Hi and Lo Pass filter sections can be switched to shelves using the mouse wheel The parametric bands can be switched between Bell Lo Shelf Hi Shelf and notch using the mouse wheel Their frequency ranges can also be switched between Low Low mid High mid and High EQ Type Clicking the or buttons changes the EQ display to show different types of controls There are four types available each with its own sound Page 200 MIXING January 8 2013 Dynamics The Dream II Dynamics comprises three sections compressor limiter and expander or gate Make up gain Sidechain In Out Linking for Buses and Link Groups Compres
52. create the built in zoom windows create a zoom window for normal and or one for ALT controls as described in the Plug in Zoom section above while the Plug in Editor is active When the Plug Editor is exited and saved these zoom windows are saved with it The built in zoom windows are accessed whenever you toggle from non Zoom to Zoom using the upper 5th soft key They can be overridden at any time by the normal process of making a marquee but will re appear whenever Zoom is toggled on Saving the Fleximap The Fleximap is saved when you exit the editor using the same upper 4th soft key that you pressed to enter it Fleximap Files Fleximap files contain all the information about mapping of parameters to controls including the displayed names and control types There are some useful things you can do by editing with fleximap files directly e Delete a file containing errors so that the Plug in Editor can work You will see that a Fleximap file contains errors when the Plug in shows no parameter names in the Pad e Correct a file containing errors so that the Plug in Editor can work This requires some experience Most of the errors in Fleximap files are misnamed parameters See details below e Rename parameters en masse e Provide names for Multi Switch values Finding a Fleximap All Fleximap files are stored in C Program Files Fairlight FMC Data FlexiMaps Page 275 PLUG INS AND REWIRE January 8 2013 Those addressin
53. eeee eee ee eeeeeeeeeaaeeee aes 314 Recording MIDI CIPS 315 Editing MIDI Clips ccceeeesseeeeeesneeeeeaaees 316 MIDI Note Editing ceeeeeeeeeeeeeeeeeeeeeeeeeeeeees 316 PROJECT AND FILE MANAGEMENT 319 INMFOC UCU ON seei OE AAA ONA NA 319 Project Formats ossa aane aniei aaea 319 MT Projecta eninesannso aia 320 DRZ Projet locane E EESAN Y 322 Waveform Profiles csceeecesseeeeeeneeeeeaaees 324 Revealing the Project File accer 325 Backup Files cccceeecsseeeeeeeeeeeeeeeeeeenaaeeeees 325 Automatic File Saving seenen 325 WINGO FIGS ce dacscecinsaccctsoduedestedeeasdesavecssoonetene 326 Video Files irera SEER 327 Typical Evo Drive Configuration seese 327 Designating Media Device 327 Creating New Projects ccceeeeseeeeeeeeeeeeee 328 Backup Project to Folder n se 329 Media Sanni NG esiratas a 329 Detailed Media Management 329 Importing Files ssssssssssnnssnnnnnnnnnnnnnnnnnnnnnnn 332 54010 A EE T EN 335 EDL Management ss ssssssssrsssrrsrrnrrrnnrnnrrnnnnns 338 SYNC AND MACHINE CONTROL 343 INtrOCUCCION 00 ceeceeeeeeeeeeeeeeeeeeesaeeeeeanaeeeeeaaes 343 Setting up Machines 343 Machine Control Indicators ccceeeeeseeeeeee 348 Timecode Generator ssssssssssssrsrreerrrrenerrens 348 Putting Machines Online cccccsseeeeenseeeeeee 349 Editing with Machine Control ccseeeeeee 349 Timecode SetUP ccecsssseeesssseeeesseseeessaeeeees 350 HUI SLAVE MOD
54. exit For momentary mode press and hold sex Make your selection of tracks then release SEL Fade and Crossfade Overview In the fade menu we can place level ramps at the begining fade in and end fade out of each clip A fade in starts from silence and ends at the full level of the clip and a fade out does the opposite Crossfades between two clips are created by first layering one clip on top of another then putting a fade in the upper clip This induces a complementary fade in the lower clip For clarity while reading this Help item turn on Display Layering by clicking view Display Layering above the Edit Screen We can also control the fade profile i e its shape using the X Level and X Point parameters Page 94 EDITING January 8 2013 Get Ready Press the green Editor button Operation Press the fade button Locate the transport so that the cursor crosses the middle of at least one clip Identify the track containing that clip and double press its button to make it the only selected track If necessary use the Bank key The target clip should now be the only red clip on the screen Red means ready to edit Press the fade head button The clip now fades from its beginning to the cursor position The shape or curve of the fade is that one shown above in the Smart Pane Current Head Fade 00 00 01 00 curve In the next section we will change this shape For now move the transport a little to the righ
55. former head is pasted Range You can make a range that specifies exactly which part of the clip is affected The easiest way is like this more about ranges later Step 1 Move the transport where you d like to start the range Step 2 Press the from key Step 3 Move the transport where you d like to end the range Step 4 Press the to key The range is marked in red Now we ll cut and paste the audio in the range Step 1 Choose the track and set the range we ve just done this Step 2 Press the cut key if not already selected Step 3 Press the cut range key The audio in the range is moved to the clipboard We see the ghost Step 4 Select another track and or move to another location Page 105 EDITING January 8 2013 The ghost moves to the new track Step 5 Press the Enter key to paste the clipboard The clipboard former range is pasted The range persists after the edit Notes about Cut and Paste Cut Tail Works the same way aS cut head but cuts the later part of the clip Range and Head When a range is active pressing the cut head key cuts the audio from the start of the range to the cursor This will not work if the cursor is not in the range Range and cut tail work similarly together Multiple Clips and Tracks When there is no range the target for editing is all the clips on selected tracks that are touching the cursor It s easy to tell which because they are always re
56. fro T1 86 Auto crash car off ram fro 12 86 Auto crash car skid an fro T1169 Auto crash car skid an T1170 Auto crash car skid an T2169 Auto crash car skid an T2170 Auto crash car smashes fr T1171 Auto crash car smashes fr T2171 Auto crash crash into fro T179 Auto crash crash into T181 Auto crash crash into T182 Auto crash crash into 1279 Auto crash crash into T281 Auto crash crash into fro T282 Auto crash head on col fro T184 Auto crash head on col fro T185 Auto crash head on col fro T284 Aita crash head nn col fro T2 AS A E ER 3 a a a S1 8 a E glok 8 eee 3 o gp master Internal on E Top Layers E 245 49 01 Step 1 After searching the database a list of matching clips is displayed Ensure the transport is in STOP then use the Jog Wheel or the and buttons to highlight the clip you want Holding down the shift button allows you to scroll faster Step 2 Press the Preview soft key or click the Preview button While Preview is lit the highlighted WAV file in the list will loop repeatedly emerging directly in the Monitor output not connected to any track or bus You can use the Jog wheel or the and keys in the numpad to move the highlight up and down t
57. go forwards Step 2 Press a button from 00 to 9 Step 3 Press more numpad buttons if you want to make more jumps Step 4 Release the Jump button If you press 1 the transport jumps by one second If you press 2 the transport jumps by two seconds and so on If you press 0 the transport jumps by ten seconds If you press 00 the transport jumps by one frame If you press Clear the transport jumps to the previous frame edge unless it s already on one The REW and FF buttons can also be used to Jump by seconds This has two advantages over using the Jump keys a it s faster because there is no menu change or numpad layout change b it has priority over all other numpad functions except Blue which means it will work any time regardless of what is displayed on the numpad This makes it great for use in macros Page 28 THE NUMPAD January 8 2013 Review The Review button causes the transport to jump back by a number of seconds then start playing It allows you to play over editing work that you have just completed When the system starts up Review is set to 4 seconds You can change that using the Numpad as follows Step 1 Hold down Review Step 2 Press a button from 1 to 9 Step 3 Press more numpad buttons if you like Step 4 Release Review The review time is set to the number you pressed and the review command is issued each time you press a number Play Jog toggles between playing and jogging If the transport i
58. in the Patch I O screen press the Patch I O button Insert In controls the Insert Return only When In the channel listens to its Insert Return otherwise the Channel listens to the straight through path The Insert Send on the other hand is always active though it must be patched somewhere before it can be heard Note Insert sends and returns are only heard if patched to physical outputs inputs or to other paths Sends can be sent to the input of any path in the system and returns can come from the output or send of any path This is done in the Patch I O screen press the Patch I O button Page 198 MIXING January 8 2013 Panning Dream II supported surround formats are Stereo LCRS LCRSS 5 1 6 1 and 7 1 Panning IN OUT Boom send ON OFF Boom While operating the pan controls the Pad gives a visual representation of the pan position and divergence A complex example is shown below Panning of 6 way Link Group showing Rotation and Divergence Basic Panning Use the L R and F B controls for basic panning If the Main Bus format does not have surround channels the F B control will still be shown but will do nothing Spread Only available when a link group is selected The spread control adjusts the perceived size of a surround mix Diverge Spreads the signal of an individual feed across more of the adjacent loudspeakers making the perceived size of the sound source larger Rotate Rotate
59. last edit selected selected Pane Window clips or clips or range range Fade Trim Tail Head a Ore Fade Split Trim Head Clip Tail Nudge Name Not Jump to Jump to 1 frame Clip active previous mark previous point O Po I J Nudge Mute Clip Add Jump to Jump to 1 frame Clip Level Mark next mark next point Display Layering Toggles the display of clip layers on tracks This is explained on page 146 AudioBase Smart Pane Opens the AudioBase Smart Pane where you can search for sound effects audition them and paste them into your project This is explained starting at page 158 Clip EQ Smart Pane Opens the Clip EQ Smart Pane where you can add a four band equaliser to any clip This is explained starting at page 123 Page 142 EDITING January 8 2013 Meters Smart Pane Opens the Meters Smart Pane This is the default display at the top of the Edit Screen It shows a meter for every track in the project Clip Search Window Opens a window showing every clip in the project plus ClipStore projects From here you can audition locate or paste any clip into your current project This is explained starting at page 160 Patch I O Page Opens a window where every signal path in the system can be accessed and connected to any other path This is explained starting at page 54 Undo and Redo Undo reverses the effect of the last edit performed The system has an unlimited number undo steps Each one saves a complete cop
60. link group is hard panned to their respective bus elements As the spread is reduced the panning of each link group member is made to converge with the location of the link group master pan control With the spread control less than full the pan control enables the sound field to be moved to favour the location of the pan target As the spread control approaches POINT the panning of each member becomes closer to the pan location of the link group master This has the effect of mixing the signals of each link group member so that they all emerge from the same loudspeakers as determined by the link group master pan When a link group is created with default pans spread is set to maximum divergence is set to minimum and rotation is set to zero The spread control can be used to great effect when it is desired to collapse the surround sound field to a point source This may occur for instance where the camera moves continuously from an interior shot to an exterior or visa versa The surround field can be established for the interior and then as the camera moves through the door or window the surround field collapses and pans and fades down to the location of the window As this is occurring a pre mixed surround field for the exterior can be growing from the rear speakers and spread out to the entire speaker system as the exterior shot is established Fader Groups VCAs There are 32 VCA style Fader groups on Evo Members of a Fader Group have thei
61. make sure the track is record enabled in order to hear your Rewire device see the chapter Recording on page 69 Page 282 MONITORS January 8 2013 Monitors The Monitor system provides summing and switching to handle speaker formats of up to 8 channels It offers flexibility of multiple speaker sets of any format selectable sources amongst any system bus and up to 16 external sources and fold up fold down facilities to manage any combination of the above Toggle Main and ALT Speakers Overview The system allows you to define many speaker sets There is always a Main set usually your large Control Room monitors You may also create many other sets and choose them whenever you like The system remembers the last non Main one you chose and calls it the Alternative ALT Speaker Set Toggle Main and ALT Speakers Press the Control Room Dim and mute buttons together This will toggle between the MAIN and alternative monitor speakers The Mon Megamode button indicates when any alternative monitor function ALT Speakers ALT Format ALT Source is being used You can still use the MUTE and DIM buttons for their normal functions Choose Speakers Overview The system allows you to define many speaker sets There is always a MAIN set usually your large Control Room monitors You may also create many other sets and choose them whenever you like This guide shows you how to select any defined speaker set This will become the Al
62. menu press the Takes button in the Editor Megamode The system displays a Smart Panel showing the individual layers on the current editing track For the configuration shown above the Takes display looks like this when the cursor runs through the middle of all the clips Color Track Layer Start Time End Time Duration Recorded Audio 5 Track 2 4 00 00 12 02 00 00 15 05 00 00 03 03 Recorded Audio 2 Track 2 3 00 00 12 20 00 00 15 11 00 00 02 20 Recorded Audio 4 Track 2 2 00 00 10 29 00 00 14 02 00 00 03 03 Recorded Audio 3 Track 2 1 00 00 12 02 00 00 14 11 00 00 02 09 As the transport moves to different places or as you select different tracks the Takes display updates at regular intervals to show the current stack of clips at the cursor position The top layer is selected but you may move the selection downwards using the Jog Wheel or the and buttons Pressing the pop soft key or clicking the on screen pop button brings the selected clip to the top of the stack making it audible Other soft key commands in the Takes menu Rotate sends the top clip to the bottom Reverse Rotate brings the bottom clip to the top on off toggles Clip Layering on and off Note you can use all the Takes menu commands whether or not Clip Layering is displayed The Takes Editor The Takes Editor is a Xynergi layout for fast takes editing To access it Hold down shift and press takes The Takes Editor is par
63. mono or off This guide shows you how to set formats for your buses Note The total number of bus elements is finite Setting Bus Formats The following procedure is used to set Bus Formats using the tactile surface Step 1 Press the green Setup button Step 2 Press the Bus Format button Step 3 Main Subs and Auxes can be selected on the Picture keys To access MT buses press the Bus MT toggle deselect everything first Select one or more buses The current format is shown as a bright Soft key if all selected buses have have the same format and by speaker icons below Step 4 Select a bus format using one of the Soft keys If you select multiple buses with different formats no soft key will be lit brightly and speakers will appear foggy But you can still set them to any available format then the speakers become clear The Pad shows how many Bus Elements are left Bus Reduction Bus Reduction is used when you need to mix to more than one format simultaneously Every channel that goes to the Main Bus can also be assigned manually or automatically to the Sub Bus that will be used for Reduction for details see Bus Assign later in this section In addition you can offset the level of a channel going to the Reduction Bus compared with its level going to the Main Bus To use Bus reduction Step 1 Select a Sub Bus with non zero format Step 2 Press Reduct n Mode Page 177 MIXING January 8 2013 Step 3 Use t
64. more than one track selected the group clip will look like a multi channel linked clip Editing of a grouped clip is the same as all other clips Double clicking a grouped clip shows it temporarily as separate clips allowing editing inside the group Double click again to restore the group Use gt to ungroup permanently Page 147 EDITING January 8 2013 Mouse Edit Menus The screen Edit Menus provide many commands that are available elsewhere in the system and some that are not The mouse can be used to access these commands Page 148 ctrl Z ctl Undo Redo Undo List Redo List Cut ctrl xX Cut Head Cut Tail Copy Copy Head Copy Tail Paste Paste Special Erase Erase Head Ctrl C Cil Y Delete Erase Tail Restore Head Restore Tail Split Clips S Join Split Cleave Multi Channel Clips Restore Multi Channel LR Stereo Swap BWF Rotate Layers Reverse Rotate Layers Space Clips Evenly Group Clips UnGroup Clips Set Clip Colour Clip Level Phase Invert Clips Rename Resync to record time Reverse Clips Set Sync Point Field Flip Video Clif fe EDITING January 8 2013 Undoes the last edit Redoes the last edit that was undone Shows a list of the edits that can be undone Shows a list of the edits that can be redone Cuts the selected clip or range to the clipboard Cuts the head of the clip at the cursor position to the clipboard Cuts the tail of the clip at the cursor
65. not visible scroll the mixer screen Note a Group Master is only visible if its group has members e Select the Mixer Megamode Press SEL Press Buses Press Bank Down to display the groups Choose a group Page 175 MIXING January 8 2013 Mixing Introduction This chapter describes everything you need to know about mixing in the Evo system The information is organised in sections as follows e Bussing types formats assignment e Signal Processing using Tactile controls e Screen Mix Controls e Inserts and Direct outputs e Faders e Preset Library Bussing Definitions Bus a mix destination where many channels are summed in desirable proportions Bus Format the number and order of outputs that a Bus addresses Typically the format matches that of a speaker set in the final listening environment Common format examples include Mono Stereo and 5 1 Newer 3D formats can also be addressed Evo provides all the commonly used formats ready to go You can also create custom formats for special speaker sets and the NAME panning system will follow your instructions for distributing energy between the speakers Evo can also be licensed to allow 3D formats In this case you would set speaker positions including a Down Up parameter for the third dimension and the system will display and enable a set of Down Up pan controls Bus Element one output from a Bus e g Left or Center Buses may have any numbe
66. notice Fairlight AU reserves the right to change any part of this document without notice The warranties remedies and disclaimers above are exclusive and take precedence over all others oral or written express or implied to the extent permitted by law in the geographical area of the product s use No employee of Fairlight AU agent distributor or employee of an agent or distributor is authorized to offer any variation from this policy Copyright 2013 Fairlight AU Pty Ltd Unit 3 15 Rodborough Rd Frenchs Forest NSW 2086 AUSTRALIA Telephone 61 2 9975 1777 Fax 61 2 9975 1999 END USER LICENSE AGREEMENT You have acquired a device DEVICE which includes software licensed by Fairlight AU from one or more software licensors Fairlight AU s Software Suppliers Such software products as well as associated media printed materials and online or electronic documentation SOFTWARE are protected by international intellectual property laws and treaties The SOFTWARE is licensed not sold All rights reserved IF YOU DO NOT AGREE TO THIS END USER LICENSE AGREEMENT EULA DO NOT USE THE DEVICE OR COPY THE SOFTWARE INSTEAD PROMPTLY CONTACT Fairlight AU FOR INSTRUCTIONS ON RETURN OF THE UNUSED DEVICE S FOR A REFUND ANY USE OF THE SOFTWARE INCLUDING BUT NOT LIMITED TO USE ON THE DEVICE WILL CONSTITUTE YOUR AGREEMENT TO THIS EULA OR RATIFICATION OF ANY PREVIOUS CONSENT GRANT OF SOFTWARE LICENSE T
67. number of beeps and corresponding streamer crosses is controlled in this dialog but the Preroll must be long enough to accommodate them If the Preroll is too short some of the beeps will be omitted See below for instructions on setting the Preroll The text referred to is that shown on the Decklink output from the Pyxis Track The font colour height control and Wrap Text control are used to customise the text display Note this text display is not shown on the Edit Screen Pyxis Window only on the independent monitor fed by your Decklink card if fitted Use the ADR Display described below to show text over the Edit Screen The ADR Display The cat sat on the mat The ADR Display is a band across the screen which displays the ADR text and also gives an indication of the start point for the cue An example of the streamer is shown below The text is shown and the indicators converge on the centre of the screen arriving at precisely the In time of the cue To turn it on use the toggle ADR ADR Display Page 86 ADR January 8 2013 Cycle The Cycle command is used to initiate ADR actions It will execute rehearsal recording and playback depending on the mode of the ADR system See below for details Preroll and Postroll It s usually necessary to set a preroll for recording This allows the recording artist to get ready for the start Postroll is useful for hearing how the new recording fits into the track Set
68. of which no automation data can be written for ANY signal path To set the Safety Zone Step 1 Press the Auto Safe button Step 2 Use the In and out soft keys to set the timecode range that you wish to automate Step 3 Toggle the safety Zone soft key on When the Safety Zone is on the mixer receives no timecode outside the selected range This means it cannot read or write automation But inside the selected range automation functions work normally Recording Mix Data Mix Events Mix data is recorded as discrete events Each event occurs at a specific timecode location and relates to a specific mix item When a new mix is started there are no events recorded and all controls will remain static as the project is played Once mix data is recorded it is played back or read when the transport runs past the timecode at which the event is recorded If the transport is located to any point in the project the mixer state will reflect the result of all the events that have occurred from the start of the project to the current timecode The static snapshot recorded with every mix preserves the basic setup and balance of the mix Dynamic move events are added to this to create the final complete mix Entering Automation Record There are four ways to enter automation record e Press the auto key below any fader Enabled parameters on the channel are put into record Pressing the auto button on the XCS Panel puts the current channel into record
69. on mixing consoles but actually they are not in fixed ranges you have the full frequency range available on each of them Filter Type Choices are P Band pass filter gt High pass filter lt Low pass filter Each band can be set to any filter type Mouse click on the button to cycle amongst the choices Frequency The centre frequency of each band Gain The gain of the band Range 99 to 20dB Q This displays the Q of the band or indicates the type of shelf Range 0 99 Enables Used with the Apply command Only the Enabled bands are applied to the selected clips Value Grid The Value Grid shows all the current parameters of the EQ being changed Choosing a Parameter There are two ways to choose a parameter in the grid Page 124 EDITING January 8 2013 Click with the mouse in the cell you would like to change Use the Numeric Keypad on your console the rectangle formed by the 7 8 9 keys at the top and the 0 00 Clear keys at the bottom corresponds with the cells in the Value Grid a500 J 5 ADDE kll 0 0 ac 1 0 gt 4 10 1 2 3 20 0 D Clear 0 0 6 13 5 0 0 dda Changing a Parameter Value There are several ways to change the value of a parameter once chosen Use the Jogger Wheel make sure the transport is not in Jog mode at that time Use the and buttons in the Numeric Keypad Press the NUMBER soft key and use the numeric keypad not recommended T
70. one of the following machine types e TC Master the selected machine is the 9 Pin timecode master e Chase slave the selected machine is in 9 Pin chase mode e Remote slave Evo will respond to 9 Pin remote commands like a virtual VTR e LTC Master the selected machine is set to chase external Longitudinal Time Code e MTC Master the selected machine is set to chase external MIDI Time Code e MMC Remote Slave when this is selected Evo responds to MIDI Machine Control commands Page 343 SYNC AND MACHINE CONTROL January 8 2013 e Pyxis selecting Pyxis Track as one of your machines allows you to take it offline the same way as physical machines See Editing with Machine Control on page 349 to see how this works e No Port No port selected Note You can have only one Master machine at a time but you can have as many slave machines as you like limited only by available ports Master and Slave machines can be used concurrently Press M1 and or M2 keys or use the Online checkbox or click the mi M2 M3 screen buttons to place machines online Enter an Offset if desired Use the red Video Analog and Digital LEDs to arm tracks on your remote device as required Note The master Video Arm Enabled box must be checked and each video Arm En box must also be checked on the desired device before the Video arm LED can be used to arm the video track Click the Eject button to ej
71. pink areas in the clip will be removed retaining the grey areas NOTE After gating with the audio broken up into multiple clips As with many other editing functions in Dream II the original audio is not affected by clip gating only the clips that reference it Any audio removed by gating can be recovered using the Trim function see Trim Function under the chapter on Editing You have the choice to use the profile or the audio to calculate the levels used by the gate function Using the audio is absolutely accurate but takes a little longer to scan Replacing Audio Media As mentioned elsewhere in this manual a clip is a reference to a piece of media on disk Editing the clips is non destructive to the media it simply changes the portion of the media being played by the clip Sometimes it is also valuable to change the media played by a clip This can be done in two ways Step 1 Step 2 Replace the media of the selected clips Replace the media of all project clips using a particular piece of media at the moment Select one or more clips by the usual methods You can use All Layers to affect the clips on all layers and you can use a Range to select multiple clips horizontally in this case only clips lying entirely inside the range will be affected Issue the command Process Change Media Selected Clips The system displays a dialog where you can browse for a media file Page 134 EDITIN
72. preroll and postroll using the appropriate fields in the ADR List Rehearsing a cue You may rehearse cues before recording them Is this needed in a system where all recording is non destructive Your call Step 1 Click the Rehearse button or press the REHEARSE soft key This puts the ADR system in Rehearse mode Step 2 Select a cue The transport will locate to its In Time Step 3 Click Cycle or press the cycle soft key This will cause the transport to drive through the In and Out points once switching the track from repro to input simulating the record experience Click the Stop button at any time to stop the take or use the Stop button in the transport controls Note When the ADR is in Rehearse mode double clicking a cue will select it and initiate a rehearsal Cycle Recording a cue Step 1 Click the Rec Playback button or press the RECORD PLAYBACK soft key until its label is RECORD This puts the ADR system in Record mode Step 2 Select a cue The transport will locate to its In Time Step 3 Click Cycle This will cause the transport to drive through the In and Out points recording a take then cycle through again for playback Click the Stop button at any time to stop the take or use the Stop button in the transport controls Note When the ADR is in Record mode double clicking a cue will select it and initiate a recording Cycle Playing Back a cue Step 1 Turn off the Rec Playback or Rehearse button if on
73. provides commands for punching selected channels into and out of Write Trim When channels are in Preview this is a good way to take them into Write For example you can play to a certain point adjusting parameter values then press the In button to put the selected parameters into Write starting at their previewed values If you wish to punch from Preview to Write automatically use Programmed Automation recording as described on page 247 The Preview Menu All of these commands require Preview to be on They are used to transfer previewed values into written automation data These actions will affect all signal paths in Preview status on all enabled parameters Page 253 AUTOMATION January 8 2013 Fill Range A range must be present Pressing this soft key causes all previewing parameters to write their current values into the range This is very useful for working with scenes or sections with different sound requirements Glide Range A range must be on This command takes the data at the beginning of the range and glides smoothly to the current control value fader or pot by the end of the range Preview Trim This command can raise or lower fader levels within a range by a constant amount It can only be used with physical faders It requires Preview to be on and a range to be present To use Preview Trim Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Ensure Mix is On Preview is On and a range is present
74. real time Page 155 TIME DOMAIN PROCESSING January 8 2013 e Tempo changes speed without changing pitch Use the tempo slider to set the desired tempo or press the fit range soft key to capture the current range length or press the edit soft key to edit the output duration or type a value in the Output box e Pitch changes pitch without changing tempo Use the pitch slider to set the desired pitch e Press the process soft key or Process button to render your changes back to the timeline A new clip will be created and the original clip will be muted and preserved in the layer underneath Using VocAlign Processing Note Vocalign Project can be purchased at http www synchroarts co uk Dream II systems will recognize Vocalign Project after it has been installed and run at least once Step 1 To enter the Wave Menu press the WAVE key Step 2 Select two tracks for VocAlign Processing The first selected track serves as the guide track VocAlign will attempt to match the second track to the guide track Note that VocAlign cannot process clips longer than 120 seconds e HIII 23 4 65 6 7 8 8 WW M1 12 13 14 16 16 17 18 19 20 21 22 23 24 25 BO I 3233 34 36 a 38 W s 4 a 25 2 27 28 29 30 J 32 38 38 40 4142 B 44 45 D 4 00 03 42 09 Top Layers E 241 58 14 Step 3 Press the VocAlign soft key The VocAlign popup will appear Page 156 TIME DOMAIN PROC
75. right to view all available clip search columns Always take great care not to delete files associated with your MT Project You may not be able to recover files once they have been deleted DR2 Projects DR2 Dream II projects are a new project format designed specifically for Dream I DR2 files are not backwardly compatible with older Fairlight products although they can be converted to MT projects with FUF files as described above The DR2 file format provides enhanced capabilities compared with the legacy MT file format and all future development will focus on the DR2 file format Recording in DR2 When using the DR2 format new audio recordings are stored as industry standard Broadcast WAV Files Evo Broadcast WAV Files are stored in the Media subfolder of the DR2 Project folder The WAV files are created when recording starts and they are refreshed at regular time intervals during recording When this happens all but the last part of the recording is safely on disk This means that audio recordings in DR2 format are quite secure even if the project file is lost or never saved the WAV files are viable stand alone containers for audio media References to them can easily be imported and re synchronised in a new project or in any other project This process is described below as Recovering Lost WAVs ix File Edit Yiew Favorites Tools Help ay ak x kJ z wi 7 Search gt Folders ins Address jo D Fair
76. shown below Track and Live Feeds Up to 192 Track Feeds Up to 48 Live Feeds 4 band automated EQ Bell Shelf High amp Low Notch 2 band automated Filters High Pass and Low Pass at 12 pr 24 dB per octave Compressor plus Limiter plus Expander Gate Insert Direct Out Track Metering Aux Sends 12 each in any bus format up to 7 1 Fader and Mute Panning up to 7 1 surround Link Groups Up to 8 members with linked parameter controls and support for advanced surround panning features Main Bus 1 x Main Bus Formats Mono Stereo LCR LCRS LCRSS 5 1 7 1 Compressor and Limiter Insert Direct Out Master Fader and Mute Sub Buses 8 x Sub Buses Formats Mono Stereo LCR LCRS LCRSS 5 1 7 1 Compressor and Limiter Insert Direct Out Master Fader and Mute Page 6 Evo OVERVIEW January 8 2013 Aux Buses e 12 x Aux Buses e Formats Mono or Stereo LCR LCRS LCRSS 5 1 7 1 e Compressor and Limiter e Insert e Master Fader and Mute Multi Track Buses e 24x Multi Track Buses e Mono Format e Master Fader and Mute Groups e 32 x Group Masters also known as VCAs after Voltage Controller Amplifiers from earlier analog consoles Hardware Components Evo is made up of five interconnected hardware devices PC containing CC 1 Engine Audio Interface and Sync box SX 8 SX 12 or SX 20 Evo console with Mouse Recorder Editor Video Monitor not supplied oe o S Optional Mixer Video Monit
77. step by step guides to many of the product s basic procedures Press the xplain button to start Now choose a main topic and then one of its sub topics Read the overview and press that button which is flashing again When you see a flashing button read the text first then press the button Sometimes the text will instruct you to press a button without flashing it Go ahead and press the button This symbol comes at the end of the topic Press xplain again to exit How To s don t care where you are in the system They will always guide you to the end result by the shortest path So if you can t quite remember how to do something and you ve gone partway through it start the How To and it will guide you from that point onwards How Much does Xplain Cover Is Xplain absolutely complete No of course not There are many functions which we have not had time to include If you find a key soft key or whole routine that is missing and you feel it should be included email me at andrew fairlightau com Page 3 INTRODUCTION January 8 2013 Recommendation If you are new to Fairlight systems it s highly recommended that you go through the Xplain How To s at least once Fairlight s user interface is quite different to most others but after learning a couple of routines it becomes quite logical and intuitive and extremely fast Page 4 Evo OVERVIEW January 8 2013 Evo Overview Signal Flow Diagram TISAI
78. steps in achieving synchronization in play mode 1 Read the position reference and start loading up the corresponding audio on all active tracks 2 When ready start playing but with the outputs muted Use variable speed to reduce the error between the Evo position and the Position Reference until it is very small 3 Switch to the Motion Reference for continued playback The system is said to be locked once this switch is made and the audio is unmuted 4 Warn of error status if the sync error increases if a reference signal is lost etc Page 351 SYNC AND MACHINE CONTROL January 8 2013 Synchronization Conflicts When you are recording a digital source it must be synchronised to the same Master Clock Reference as Evo or an overflow too many samples or underflow too few samples may occur at the input This causes a characteristic periodic form of digital distortion called a whisper A whisper sounds like a brief glassy or metallic buzz and occurs about once every few seconds depending how fast the samples are overflowing or underflowing The best solution to digital sync conflicts is to drive all digital devices from a single studio wide word clock signal Then all devices will have identical word rates so whispers never occur and digital interconnections may made with ease In this instance the sync HOUSE option is always used Pull Up and Pull Down The normal sample rates used by the digital audio industry are 32 000
79. to capture the Out point The Out point is displayed below the In point in the Pad when the Mix Menu is active To make the In and Out points active Step 1 Press the Active In button to make the automation In point active The Auto Punch key appears Step 2 Press the Active Out button to make the automation Out point active The Auto Punch key appears if not already displayed Note you do not need to activate both In and Out points See below for consequences To enter record explicitly Step 1 Press the Auto Punch Key The transport will preroll the In Point go into automation record when it reaches the In Point if active then exit record at the Out Point if active If the In Point is not active the transport will still preroll and pass it allowing you to punch in when ready by pressing the In key If the Out Point is not active the transport will go into record at the In Point then stay in record until you manually exit The transport continues to play after the Out point The punch preroll time is set in the System_Variables file To enter record implicitly Step 1 Move the transport to a location before the In point and press PLAY The automation system will enter WRITE Or TRIM when the transport moves past the In point if active and return to READ Page 248 AUTOMATION January 8 2013 when the transport moves past the Out point if active Once the transport has moved over the In or Out point they are
80. your Editing Screen but this can be inconvenient Be very careful not to choose the screen used by the Evo Center Section this is awkward to reverse Use the Identify button to show the monitor numbers on the physical screens These may not be the same numbers shown in the Windows Screen Resolution dialog Now you may restart Dream I If you choose EVO Mixer Screen it will appear on the nominated monitor EVO Mixer Screen was originally designed to work on a 1600 x 900 monitor displaying 40 faders If your monitor is taller than 900 pixels the faders will be taller but everything else will look the same If itis narrower or wider than 1600 pixels it will display fewer or more faders Page 188 MIXING January 8 2013 The EVO Mixer Screen 00 41 17 15 Automation section Bus Faders and meters Channel Scroll Bar The EVO Mixer Screen shows only those Live Feeds which have inputs patched plus one more ready to patch Similarly VCA Group faders are shown only for groups with members Scrolling Scrolling of the mixer screen can be done by e Dragging the Scroll Bar with the mouse e Holding down ctri and pressing the Xynergi Bank buttons In addition the screen can be made to autmatically scroll to show the current channel To set this up do the following Step 1 Select the setup Megamode Step 2 Press the cali button Step 3 Press the Scroll Mixer soft key Solo Mute Arm Soloing muting or arming a succession of c
81. 0 This means that the fade will last for 20 frames The crossover point will be 6 frames into the fade at which time the level will be 3 dB compared with full Level Setting Fade Curve Parameters Use the x Level or x Point soft key to move focus into the corresponding field in the Smart Pane Use the Jog Wheel or Numeric Keypad to set values Press Enter to accept those values or Fade Hade Fade Tail to create a new fade using those values You can also use the Mouse click on the red dot in the Fade Curve and drag it up down to change X Level or left right to change X Point Drag red point to change X Level and X point 00 00 01 00 Quick Fade To create a Fade and set its curve quickly do the following Locate to the point where you want your Fade In to end Hold down Fade Head Turn the Jog Wheel until the Curve in the Smart Pane looks right Release Fade Head This method is not precise but it s very fast Page 96 EDITING January 8 2013 XFade New Method Making a crossfade between two clips requires that they overlap The new Crossfade method creates the overlap at the same time as the crossfade Get Ready Press the green button Operation Locate the transport so that the cursor crosses the middle of at least one clip Identify the track containing that clip and double press its button to make it the only selected track If necessary use the key The target clip should now be the only clip on the
82. 0 10 00 00 00 08 10 10 00 00 00 20 45 a5 CRIA 45 15 DA Length v Shape 20 20 20 50 50 50 50 The Editing screen displays fade information in the Smart Pane at the top of the monitor This is used to issue commands as well as illustrate fade shapes curves Using Picture Keys Fade Head One of the simplest fades can be achieved as follows Step 1 Select a track and move a clip under the cursor Step 2 Press the fade button if not already on Step 3 Press the fade head button This creates a fade from the start of the clip to the cursor position The shape of the fade can be seen above this will be described later but the Duration is not used Instead the duration is set by the cursor position If you are happy with your current fade shape using fade head is a fast and simple way to get a lot of work done NOTES e If you do not want to apply the Smart Panel shape shown above to the Head turn off the shape soft key e Ifyou ONLY wart to apply the shape and not to change the length of the head fade turn off the length soft key Page 114 EDITING January 8 2013 Fade Tail Same as fade head but it fades from the cursor to the end of the clip Fade Clip Applies the numbers in the Head Duration and Tail Duration fields shown in the Smart Pane Using Multiple Tracks If multiple tracks are selected the simple Fade Head and Fade Tail commands will apply to all clips touching the cursor on selected tracks
83. 00000_E9640 ightAU Projects New Project2 Media FL_ Reccord Test 4 _a4 GLTO9DLYDDO_B way audio 00000000_00000000_E9640 ightAU Projects New Project2 Media FL_ Reccord Test 3_a3 GLTOSDLYDDO_9 way audio o0000000_00000000_E9640 ightAU Projects New Project2 Media FL_ Reccord Test 2_a2 GLTOSDLYDDO_8 way audio O00000000_00000000_E9640 ightAU Projects New Project2 Media FL_ Reccord Test 1_a1 GLTOSDLYDDO_7 way audio O0000000_00000000_E9640 ightAU Projects New Project2 Media FL_ Reccord Test 7_a2 GLTOSDLYDLO_F way audio o0000000_00000000_E9640 ightAU Projects New Project2 Media FL_ Reccord Test 9_a4 GLTOSDLYDLO_H way audio 00000000_00000000_E9640 ightAU Projects New Project2 Media FL_ Reccord Test 8_a3 GLTOSDLYDLO_G way audio 00000000_00000000_E9640 ightAU Projects New Project2 Media FL_ Reccord Test 10_a5 GLTO9DLYDLO_Jway audio O0000000_00000000_E9640 gt Select one file then click on the commands at the bottom of the dialog as follows Reveal File Opens Windows Explorer at the folder containing the selected file Locate Moves the transport to the start time of the original recording Paste Here Creates a clip using this media at the current timecode position on the current Edit Track Refresh The display is updated to include the latest recordings to have been erased or pasted not normally necessary as the display updates automatically Preview Plays the selected recording through the monitor system Press the same button again to stop play
84. 01 SFX 02 SFX 03 SFX 04 SFX 05 SFX 06 SFX 07 SFX 07 SFX 08 SFX 08 SFX 09 SFX 09 SFX 10 SFX 10 SFX 11 SFX 11 SFX 12 SFX 12 SFX 13 SFX 13 SFX 14 SFX 14 SFX 15 SFX 15 M SFX 30 SFX 16 SFX 16 SFX 17 SFX 17 SFX 18 SFX 19 SFX 20 SFX 21 SFX 22 SFX 23 SFX 24 SFX 25 SFX 25 SFX 26 SFX 26 SFX 27 SFX 27 SFX 28 SFX 28 SFX 29 SFX 29 SFX 30 E DOUE W NE le Select a destination bus at the bottom of the screen in the picture Sub 1 is selected Each path already assigned to that bus is highlighted tracks 88 to 90 are highlighted Each path shows the buses to which it is currently assigned all Aux Buses and Sub Buses can now be assigned to Main bus M M M m M Sev SFX 18 SFX 19 SFX 20 SFX 21 MBL MBL M M mM SFX 26 SFX 27 SFX 27 SFX 28 SFX 28 Sub 1 Click any path to toggle it on or off the destination bus To toggle multiple paths click and drag the mouse over them Page 182 MIXING January 8 2013 Use Page Up and Page Down to reach more paths Sub Buses are at the bottom of the second page They are grayed out unless Main is the selected destination Assigning Subs to Main this picture is distorted to save space Stem Assign Overview Sometimes it s necessary to assign a signal path to only part of a bus In a 5 1 mix for example you want to pan some effects left and right but avoid the center to keep the dialog clear To achieve this you de assign these effects from the Center Element of the bus This g
85. 0Hz IE e 0 9dB a ns zA In the EQ case they control EQ frequencies and gains These parameters are shown in Black type with a blue background The lower set are shown grayed out The ALT key While att is held down the lower parameters become active These parameters relate to the upper parameters e g the word IN below Band 1 Gain toggles Band 1 IN HF HI SH 3k87Hz HMF BELL 800Hz 4 Non ALT LMF BELL 17 iHz LF LO SH mm ALT Many axr functions like Band 1 IN are switches These are toggled by touching the rotary knob Others like Q factor are controlled by turning it In addition the Pad Soft Keys are displayed The upper ones are toggles like EQ IN while the lower ones are alternative pages of controls The Pad Soft Keys can be locked into place using the Pad Lock button in the Mixer Megamode or by a second press of Path EQ Dyn Aux Or Plug ins Page 185 MIXING January 8 2013 Using SEL Press and release the SEL button while the Mixer Megamode is active While SEL is active the Path EQ Dyn Aux and Plug ins buttons are available This means that SEL is a kind of all purpose mixing environment where any path can be selected and any mix parameters can be accessed EQ Details There are four pages for EQ To switch use ALT lower soft keys Page 1 Bands 1 to 4 are shown with Gain controls at the right and Frequency at the left Page 2 Bands 1 and 2 are shown in more det
86. 1 etc or a combination of system and user name This is done in the Setup Megamode using the style button a triggle that cycles through the three naming styles proj seip mon Showing More Paths SEL The SEL key can be used to display 48 paths at the same time It works in momentary mode hold down or latching mode press and release Action Keys fade fade head tail Action keys cause an immediate result They are always coloured orange Page 21 THE XYNERGI TACTILE CONTROLLER January 8 2013 The Pad 03 00 22 02 Range rath MENEN This displays all mixing information relating to the current path the most recently selected path It also displays the labels for the soft keys see below The ALT keys work with the Pad to extend its functionality The Pad is the main input device for processing mixing and automation For information about Pad mixing see page 184 For information about automation using the Pad see page 263 Soft Keys Soft keys display the soft menu options for the current mode The soft key label immediately above or below the soft key tells you what its current action will be or shows its current status To find out what any soft key will do at a particular time hold down the xpiain button while pressing the soft key Page 22 THE XYNERGI TACTILE CONTROLLER January 8 2013 Megamodes Overview A megamode is a complete layout of the Xyner
87. 3 Press Play to move the transport automation data starts writing Step 4 Press Stop automation stops writing and Auto buttons are extinguished The mix items that will be recorded are those for the enabled parameters signal paths Page 239 AUTOMATION January 8 2013 Notes e You can press Auto before or after pressing Play e You can also take a signal path out of record by pressing Auto again while play continues or take everything out of record by pressing the all read button e See Leaving Automation Record below for other ways to exit record e There are Auto buttons in the Edit Screen when the tracks are tall enough e There are Auto buttons in the EVO Mix Screen Using the In Button The In and out buttons are available in the Punch sub menu To access this press the Punch button in the Mixer Megamode Step 1 Enable parameter s see Enable Parameters below Step 2 Select signal paths see Select Signal Paths below Step 3 Press Play to move transport Step 4 Press In automation enters record and starts writing Step 5 Press Out automation stops writing The mix items that will be recorded are those for the enabled parameters signal paths Page 240 AUTOMATION January 8 2013 Notes You can press In before or after pressing play You can also take a signal path out of record by pressing the Auto button on its fader while play continues or take everything out of record by pressin
88. ART gt Setting gt Control Panel Decklink Blackmagic DeckLink 6 7 1 xi Preference settings for your DeckLink HD Extreme 2 Settings Processing Video Levels Audio Levels Set output sor amp HDMI amp R B x Set input PR SSh a mde are ee e For video and audio capture Use video setup in NTSC 4t 7 5 IRE for use in the USA At 0 0 IRE for use in Japan V Remove field jitter when video is paused T Select 4 4 4 on video output J Use 3 Gb s SDI For Single Link 4 4 4 J Set black ref on video output in capture When not playing video send Black hs To all the video outputs Requires restarting your computer Set reference output timing lt lt lt ___ 0 Reference input not detected cce ay It is critical that you select the appropriate Inputs for your system In the example we are intending to capture video from a Digital Betacam VTR via the Decklink Component inputs If you will be consistently using the same physical inputs for all video capture duties you should be able to set and forget this value Page 301 PYXIS TRACK January 8 2013 Configure Dream Il Video Capture options With Dream II launched and a Project with Pyxis track open navigate to Setup gt General Preferences gt Video Capture This window configures the Dream II part of the video capture system General Preferences ea x Projects Scrollers W
89. Bus Balancing There is one exception to the preceding statement If a track is feeding the Main Bus and one other bus and the other bus is also routed to the Main Bus the system will correctly compensate for the latency See diagram below peLatency Ti Main Bus Track Aux Bus LeLatency 2 In this instance special channels are used to create the necessary timing changes to correctly compensate for latencies Page 267 Notes PLUG INS AND REWIRE January 8 2013 Bus Balancing is enabled in the Audio Plugins General Preference Tab by selecting the Bus Balancing Enabled option Since this new mechanism uses system resources it is Disabled by default The new mechanism only works for Main Assign If a track is not assigned to the Main bus this mechanism is not invoked For this to work a track can only be assigned to one bus plus Main e g If Tracki is simultaneously assigned to Subi gt Main and Auxi gt Main then the old priority mechanism is invoked and only the Subi correctly compensated If a bus feed is not also assigned to the Main bus then the mechanism is not invoked and the old bus priority mechanism used No more than 12 buses can be balanced in this way Each balanced bus uses special channels which copy the elements of the Main bus For a 5 1 Main bus 6 such channels are used stereo uses 2 There are a total of 24 special channels available for bus balancing Instantiation
90. Controls whether editing targets automation data When set to audio all clip editing functions affect only the audio When set to both clip editing functions like copy paste nudge and slip will affect the automation data as well as the audio clips See Automation follows editing later in this chapter Copies mix data over the range from the selected channels into a clipboard Pastes the copied mix data from the clipboard to the selected channels See details below Determines what data is written after leaving automation record by pressing the STOP key or pressing the Mix ON Hold erases all events from the current position to the end of the project Return returns to the previously recorded value at the current location Event holds the current value until the next event is encountered Enable ON When a Touch mode is engaged SNAP or LATCH any enabled parameters that are touched are automatically put into Write or Trim It is not necessary to first enable the feed or bus OFF When a Touch mode is engaged SNAP or LATCH only feeds or buses that have been enabled in the mix menu will be put into Write or Trim when their enabled parameters are touched Note Touch Auto Enable is selective by parameter For example if the EQ section is enabled and you touch only one control only it will go into Write or Trim The other EQ controls will remain in Read until you touch them Page 251 AUTOMATION January 8 2013 J
91. Disp button Step 3 Turn the Jog Wheel to adjust the amplitude trim displayed in the dialog box At the same time the clip waveform will change amplitude Step 4 When ready release the Jog Disp button to apply the amplitude change Note Clips on multiple tracks can be amplitude adjusted at the same time If a range is present all clips wholly inside the range will be affected Clip Level Layout If you are doing a lot of Clip Level editing try pressing the Clip Level button a second time This will cause a special layout to appear with many different level changes that can be applied instantly The Clip Level Layout will disappear when you select other menus but its presence will be remembered when you return to the Clip Level menu To remove it press the Clip Level button again Page 122 EDITING January 8 2013 Level Normalisation Clips can be normalised to the maximum possible level using the Normal Level Soft key in the Clip Level menu Clip Equalisation Evo provides clip based four band parametric Equalisation plus shelving which can be applied to a single clip or range of clips within a Project EQ is performed by the system on a copy of the original media therefore applying an EQ change does not affect the audio data on disk The clip based EQ is independent of the track feed mixer EQ Note Clip EQ is a multi track operation Applying EQ Step 1 Press the clip EQ button Step 2 Locate the cursor over the clip
92. E cccscccesseeeeees 353 INtrOCUCCION arsine i Eei Eai 353 TA EAE T A AT 353 MIDI Devices sssssssssssssrsssrnrnrrnrrnnrrnnrrnerrnenns 353 Remap File ts 2sisisssdsctoviinsdiieei esta 356 Advanced using Scripted Macros s 359 INTRODUCTION January 8 2013 Introduction Congratulations You re reading the manual This is a great way to learn Evo Evo is a large audio production system with very strong support for video recording and editing If offers a variety of work surface components and modular furniture About This Manual The Evo User Manual provides all the information necessary to rapidly become proficient at operating the system in a professional audio environment This manual is designed to familiarize sound editors and engineers with the facilities provided by Evo The terminology and concepts used in this manual assume a reasonable knowledge of audio principles and studio procedures Finding the Information You Need Read through the chapters in the order presented to learn all the features of the system or use the Table of Contents or Index to quickly find the specific information you require What Else You Need to Know Installation If you need to install or re install the system please read the manual Evo Quickstart Guide pdf This manual is installed on your hard disk For Windows XP systems it is usually in the folder C Program Files Fairlight Dream I Docs For Windows 7 systems it is in C
93. E In port on the SX 20 am x Play Tracking Determines how many incorrect frames the system must see before it jumps to be in sync with the incoming timecode or stops if no timecode is coming in This allows the system to keep playing over timecode that has gaps Page 347 SYNC AND MACHINE CONTROL January 8 2013 Record Tracking As with Play Tracking but recording uses a different number This is because recording sometimes needs to be more tolerant Note that if timecode sync is lost during recording then re established the transport will go back into Play but not into Record Run Lock If the Play Run Lock checkbox is ticked the system will continue to play after first achieving lock to timecode no matter what the timecode does The lower Run Lock checkbox provides the same option when recording MTC Chase When a machine M1 or M2 with this setting is placed on line it means that Evo will chase MIDI Time Code entering the MIDI In port on the SX 20 The settings are identical to those for LTC Chase Machine Control Indicators Name Name of the 9 Pin Device Servo LEDs The left Servo LED is green when the 9 Pin device has servo lock The right Servo LED is green when the 9 Pin device has sync lock For correct operation with 9 Pin devices both LEDs should be green Timecode Displays the current timecode position of the external device Status Displays the device status Offset Displays the dev
94. E PANEL ILP2 January 8 2013 Auxiliary Sends Each full channel in EVO system includes twelve auxiliary bus sends The auxiliary send signals are derived immediately before or after the feed fader Each auxiliary bus may be configured in any of the supported surround formats Press the Bus Format key in the Setup Megamode and an Aux bus Selection key to set an Aux bus format To control the auxiliary bus master level cA the bus to the Master Fader by clicking its name in the FMC2 screen Auxiliary Send Controls Gain The gain control adjusts the amount of signal sent from the selected feed to the auxiliary bus The control range is OFF to 10cB Mute The send Mute key toggles the feed to auxiliary bus assignment on or off Pan Provides panning across stereo aux bus destinations Pre Post The Pre Post switch is used to switch aux sends pre and post fader Pre Mute This function is available on the third Aux page Pressing the Pre Post Mute switch causes the send to be Pre Mute That means you can mute the channel s fader without stopping the aux send Post Pan This function is available on the third Aux page Pressing the Pre Post Pan switch causes the send to be Post Pan This is useful for stereo aux sends where you want the positioning for the stereo aux send to match the position of the main channel in the Left Right pan field Page 237 AUTOMATION January 8 2013 Automation Introduction The Evo auto
95. E PANEL ILP2 January 8 2013 If the ILP is already in Channel mode pressing Chan again takes it back to Strip mode with each strip remembering which page it was displaying Plug Pressing the Plug button toggles Plug in mode on and off When Plug in mode is on the whole ILP is used to display plug in parameters for the current plug in on the current channel When toggling Plug in mode off all strips return to their previous Strip mode function In future versions of software you will be able to map plug in functions to the ILP controls and we will provide pre mapped layouts for popular ones Master Pressing the Master button toggles Master mode on and off When Master mode is on the whole ILP is used to display Master fader levels and mutes for the system buses Hold down BLUE and touch any bus knob to set its value to 0 dB Open The open button is not used in this version of software Enable When automating mixer controls you will need to precisely control which parameters are being written at any time The Enab button allows you to do that To enable a parameter Step 1 Hold down the Enab button If your parameter is accessed with aT you ll need to hold that down as well Step 2 Touch the ILP knob or press the button that controls your parameter The parameter being controlled by that physical knob or button is toggled in and out of the automation Enable Mask Curve Automation Curves are used to show recorded pa
96. EDITING January 8 2013 Evo s Quick Edit Layout The Quick Edit Layout provides a faster way to perform basic edit functions It combines a number of the most used commands into one layout to reduce the number of keystrokes needed To use the Quick Edit Layout do the following Step 1 Start with the Cut or Copy menu active press the cut or Copy button in the Editor Megamode Step 2 Hold down the surrr button and press the green Editor Megamode button The Quick Edit layout is shown The Record Megamode button can also be used allowing you to perform edits easily while recording Step 3 To remove the Quick Editor from the surface repeat Step 2 nudge nudge mute This layout contains only 13 buttons though it may be increased in the future nudge Nudge Left Right These keys move the currently targeted clips one frame earlier or later Their action is exactly the same as the corresponding commands in the Nudge Menu but it is not necessary to go there Trim Left Right These keys combine the Jog Wheel and the Trim function To use the Trim Left button Step 1 Start with the cursor touching a clip whose head you wish to trim Step 2 Press and hold the Trim Left button This will cause the head of the selected clip to extend fully Step 3 Use the Jog Wheel or any transport control to locate to the point where you want to trim the head Step 4 Release the Trim Left button to make the edit Note Cli
97. ESSING January 8 2013 Y VYocALign Project 0 o xl Fie Edit View Options Play Help a EY Render Step 4 x OB Noma Fery eeror megre FL_7D4J2K8BQD Adjust VocAlign parameters or use defaults see the VocAlign manual for details When you are ready press the Align button or the align soft key A new clip will be created on the Dream II timeline and the original clip will be muted and preserved in the layer underneath Removing Clicks Clicks in audio media can be removed by rewriting waveform data using a simple linear smoothing algorithm Step 1 To enter the Wave Menu press the wave key Step 2 Select the track where the click is found Step 3 Identify the click by zooming in very close and position the click exactly under the cursor Step 4 Press the Remove Click soft key Step 5 The width soft key becomes active This should be set to match the number of samples occupied by the click To do this turn the Jog Wheel until the red range on the screen matches the width of the click Step 6 When the width is correctly set press the Enter key to execute the command Note that the click must not be in the fade in or fade out area of a clip and that the command does not work on linked clips i e Multi Channel clips Undo is available after using the Remove Click command Page 157 AUDIOBASE CLIP SEARCH CLIPSTORES January 8 2013 AudioBase Clip Search ClipStores AudioBase and Clip Search p
98. FAIRLIGHT EVO Operator Reference Manual 8 January 2013 Software Version 4 0 Issue 001 Important Notice COPYRIGHT The material in this document is copyright to Fairlight AU Pty Ltd and may not be quoted or reproduced in any form without written permission from the company Fairlight is a trademark of Fairlight AU Pty Ltd All other trademarks are the property of their respective owners LIMITED WARRANTY POLICY All the software and hardware provided with or purchased especially for Fairlight products has been tested for functionality Fairlight AU Pty Ltd will make its best efforts to correct reported defects for future releases subject to technical practicalities Fairlight AU will also replace any defective media on which software has been delivered provided that the item to be replaced is returned to the dealer who supported the product within 90 days of purchase Fairlight AU Pty Ltd makes no warranty or representation either expressed or implied with respect to the system s performance or fitness for a particular purpose In no event will Fairlight AU Pty Ltd be liable for direct or indirect damages arising from any defect in the product or its documentation Further Fairlight AU Pty Ltd will not accept any liability for any programs sounds audio recording or sequences stored in or used with Fairlight products including the cost of recovery of such data Product features and specifications are subject to change without
99. G January 8 2013 Choose new media file 2 x Look in O Media gt e ct Ee ica A FL_ _al 4PHS6NYZ4X71M wav A FL_ _al 4PHS6NYZ5B73F wav a FL r A FL_ _a1 4PHS56NYZ4 71N wav A FL _ _a1 4PHS6NYZ5B73G wav A FL E A FL_ _al 4PHS6NYZ4X71P wav A FL_ _a1 4PHS6NYZ5B73H wav A FL BCEE FL_ _al 4PHS6NYZ4X71Q wav A FL_ _al 4PHS6NYZS5B73 way A FL E A FL_ _al 4PHS6NYZ4X7 1R wav A FL_ _al 4PHS6NYZ5272B way A FL A FL_ _a1 4PH56NYZ4 715 wav A FL_ _a1 4PH56NYZ5272C wav A FL Desktop A FL_ _al 4PHS6NYZ4X71T wav A FL_ _al 4PHS6NY25272D wav A FL A FL_ _al 4PHS6NYZ4X71 wav A FL_ _al 4PHS6NYZ5272F wav A FL a A FL_ _al 4PHS6NYZ4 7 1W wav A FL_ _al 4PHS6NYZ5272G wav A FL A FL_ _al 4PHS6NYZ4271_ wav A FL_ _a1 4PHS6NYZ5272H wav A FL auu nE 13 FL a1 4PHS6NY24271X wav 8 FL_ _al 4PHS6NYZ5472 wav A FL E A FL_ _al 4PHS6NYZ4Z71Y wav A FL_ _a1 4PHS6NYZ5472K wav A FL_ er A FL_ _al 4PHS6NYZ4271Z wav A FL_ _al 4PHS6NYZ5472L wav A FL A FL_ _al 4PHS6NYZ42720 wav FL_ _al 4PHS6NYZ5472M wav A FL My Computer 5 F A FL_ _al 4PHS6NYZ5B73D wav A FL_ _al 4PHS6NYZ5472N wav A FL K a AMET File name X Places Files of type X Cancel Step 3 Browse to find the media you want and click the Open button The system replaces the media in the selected clips ih To replace the media of clips using that media file do the same as above
100. II is processing However you cannot save your project until Fuf Stuffing is complete When dragging and dropping files onto the Dream II timeline you may notice some files are Fuf Stuffed automatically Dream II performs Fuf Stuffing automatically when it is required for QDC compatibility for example if you drag a file larger than 4 GB onto the timeline Dream II users can also copy clips from one MT project to another In doing so the user creates a relationship between Fuf files belonging to one project and Fuf files belonging to another Using Save As with an MT file has the same effect and creates a Parent Child relationship between the original MT Project and the saved version To break any such inter Project dependencies select Page 321 PROJECT AND FILE MANAGEMENT January 8 2013 Process Detach from the Dream II menus After detaching your MT Project you can select Process Stuff Fufs All Clips or Process Stuff Fufs Selected Clips to consolidate all audio into Fufs associated with your current project If you are unsure of what file a clip is stored in you can find out by selecting view Clip Search from the Dream II menus You will see the filename associated with each clip in the list and you can click the Reveal File button to display a file in Windows Explorer Note that you can rearrange columns in the clip search window by dragging and dropping column headers You may need to scroll to the
101. ING eevecccsssceeeectecaesesvetiedcceveenesssteeseeteeeets 62 RECORDING 26 seectssitenntectae aici 69 BASICS ssiseveteceetueecciesieieedeivecsdeaeneendssdevebevaraees 69 Recording and Editing Multiple Takes 78 Background Recording ccceeesseeeeeeeeeeeeeeees 81 ADR a are ANGES 81 ADR inasnan s Ra 82 Inrod cion neciiaeos rin EAE AEON A 82 The ADR Listices eaea aaiae iedera ieaiai iai 82 Import Cue List from a Text File aaa 82 Import from CSV File scarica nanain ns 83 Adding Cues Manually seenen 83 ADR Preferences cccssseseesssseeeesssseeesnaeeeenes 85 The ADR DiSplay ccccceeesseeeeeeeeeeeeeaeeeeees 86 Exporting the ADR list eeren 88 EDITING emer ee eee center wer eacee ace ce Serna 90 Basic Concepts the Audio Clip sesse 90 Other Clip Types cccccsseeeeeesseeeeeeaeeeeeesaeees 91 Editing Methods cccccessseeeeeseseeeeeaeeeeeaaes 91 Editing Tutorial gerrira 91 Tactile Editing Detailed Description 101 The CUESOF arrsa H nane EEs Er n REA ENSKE VENEESEEN TRESS 102 C tand Paste cerrar konn ten AREER 102 EraS iicscesaceciescciniveetdenciaendacewceedeieevedowede ceeia 108 Edit Soft Key Commands nsss 108 Paste Special nacrta E E aai 109 Una 2503s cance bed EE ET 110 S i Ea seas o T A T TN 111 NUUQ icin tities ar EEEE RA AAA 113 Fade and Crossfade 114 CIP LEVE aeria raian EAEEREN 121 Clip Equalisation a 123 EO OSa red aeaa 123 Editing on Multiple Layers cccc
102. If the selected area is smaller than the Pad black is shown around it If larger than the Pad it is cropped at the bottom and right to fit To toggle between zoomed and full views of the plug in graphic press the upper 5th soft key next to Macro This is labeled Zoom if visible but this won t be the case when a graphic is shown in the Pad Zoomed views can be stored with each page of the plug in fleximap See Plug in Editor below for details Plug in Editor The Plug in Editor is used to place plug in parameters on the Pad controls set the control type and rename the controls if required To access the Plug in Editor Step 1 Load a plug in Step 2 Press the Plug in button in the Editor or Mixer Megamode At this point the Pad controls should display parameters from the plug in These may be pre arranged at the Fairlight factory or by you or a colleague or if not they are shown by default in the order presented by the manufacturer normal first then ALT Several pages may be filled if there are more than 16 plug in parameters If the Pad controls do not display anything there may be an error in the Fleximap This requires the fleximap file to be deleted See Fleximap Files below Step 3 Hold down the Blue key and press the upper 4th soft key This is labeled Layout if visible but this won t be the case when a graphic is shown in the Pad The system displays a page containing plug in parameters and commands Note the pict
103. In the example above the value of 950 will cause the numeric display to first be shown when the signal level reaches 5dB below full scale 970 will set the threshold to 3dB 990 will set the threshold to 1dB and so on Clear Peak Signal levels in excess of OdB full scale are indicated by a fixed orange peak hold display To reset the peak hold display Step 1 Press the Meters button in the Setup Megamode Step 2 Press the Clear Peak soft key You can also clear peaks using the Clear Max button on the Master Screen Meters 100 100 a 100 100 100 100 100 100 Peak Hold Time Peak hold time can be set in the Meters Menu as follows Step 1 Press the Meters button in the Setup Megamode Step 2 Press the Peak Hola soft key repeatedly to choose Off Short Long or Permanent peak hold Overload Hold Time Overload hold time can be set in the Meters Menu as follows Step 1 Press the Meters button in the Setup Megamode Step 2 Press the over Hold soft key Step 3 Use the Jog Wheel to change the overload hold time Page 293 METERS January 8 2013 Step 4 Press the Enter key or the Exit soft key Meter Point The Meter Point is the place in a channel where level is extracted for metering To move the meter point for all signal paths Step 1 Press the Meters button Step 2 Press the Mtr Pnt soft key repeatedly to move the meter point The meter point can be seen in the Fat Channel by the position of the
104. MACKIE_INPUTS CID_SW_MACKIE_AUDIO_TRACKS CID_SW_MACKIE_AUDIO_INSTRUMENT CID_SW_MACKIE_AUX CID_SW_MACKIE_BUSSES CID_SW_MACKIE_OUTPUTS CID_SW_MACKIE_USER CID_SW_MACKIE_OPTION CID_SW_MACKIE_SAVE CID_SW_MACKIE_UNDO CID_SW_MACKIE_CANCEL CID_SW_MACKIE_SOLO CID_SW_MACKIE_DROP CID_SW_MACKIE_CYCLE CID_SW_MACKIE_DISPLAY_SMPTE You may add any of these to your remap file and assign them to any Dream II key For help with Dream II key assignment please consult your Fairlight customer support organization Remap to Macros One easy way to get more power from HUI keys is to map them to your macros An example of a mapping line that does this CID_SW_MACKIE_F1i CID_SW_M_1 CID_SW_MACKIE_INPUTS CID_SW_BANK_1 Using macro and bank assignments you can get access to 27 macro keys Identifying Keys On some HUI controllers the key labelling may not match the list above You can find out the name of any HUI key using the following method Step 1 Start the system and load a project can be empty Step 2 Start the MSAT application Start All Programs Fairlight FMCFMC Utils gt FMC Step 3 If you see this error message at any time click OK it doesn t mean anything is wrong Ce x X Version Error FMC and MSAT have incompatible UICtrlViewDefs Close MSAT and restart a compatible version Step 4 Click buttons at the top of the MSAT screen so that Msg Gen is on Msg Sys is off and All Para is off as shown below Page 357 Step 5 Step
105. Menu twice to review what you have just written Press the Undo button to remove the new automation data Page 264 PLUG INS AND REWIRE January 8 2013 Plug ins and ReWire Introduction Evo provides powerful support for 3 party hardware and software plug ins via the industry standard VST VSTi and ReWire protocols General Capabilities Plug ins can be instantiated placed in Track Feeds and Live Feeds This is done as an Insert to the feed See Inserting a Plug in below You can instantiate up to 6 plug ins per feed Control of plug ins can be graphical using the mouse or fader based using fleximaps The graphical controls are supplied by each third party manufacturer of plug ins Fleximaps allow physical control of plug in parameters and this how they are automated Access to control of Plug ins is via the Plug in button in the Channel Panel or via mouse clicking on the Fat Channel in the Mixer Screen Details below VST and VSTi rf ua VO C lt P About VST VST Virtual Studio Technology is an audio plug in standard created by Steinberg The VST standard allows third party developers to create VST plug ins for use within VST host applications or to create VST host applications themselves The VST plug in standard is the most widespread plug in standard in use today with thousands of available plug ins The VST Host A VST host is a software application or hardware device that allows VST plug ins to
106. NK_DOWN decrement_fader_set CID_SW_MACKIE_BANK_UP increment_fader_set CID_SW_MACKIE_CHANNEL_DOWN decrement4_fader_set jump by four fader sets CID_SW_MACKIE_CHANNEL_UP increment4_fader_set jump by four fader sets CID_SW_MACKIE_UP EQUAL less_tracks show fewer tracks on the edit screen CID_SW_MACKIE_DOWN EQUAL more_tracks show more tracks on the edit screen If you wish to release one of the HUI keys for other functions you must edit the Events txt file in C Program Files Fairlight FMC Data User Evo_ For example to liberate CID_SW_MACKIE_BANK_DOWN add a hash in front of the line CONTROL CID_SW_MACKIE_BANK_DOWN EQUAL 1 decrement_fader_set like this CONTROL CID_SW_MACKIE_BANK_DOWN EQUAL 1 decrement_fader_set Then you can use CID_SW_MACKIE_BANK_DOWN in your remap file or trigger a different scripted macro Page 359
107. ON OFF The signal sent to the boom element of a bus may be switched on or off using the switch in the Boom section of the In Line Panel Boom Level The Boom Level control adjusts the amount of signal sent to the boom element of the bus to which a feed or link group is assigned The boom level control range is OFF to 10dB This level control may be pre or post the feed fader Page 234 THE IN LINE PANEL ILP2 January 8 2013 Boom Pre Post Button Boom can be set to Pre Fader or Post Fader the Pre Post button Dynamics The DREAM II Dynamics comprises three sections a compressor a limiter and an expander or gate The dynamics transfer function and parameter values are displayed in the fat channel at the bottom of the mixer video display The In Line Panel offers one strip for the Compressor called Comp another for the expander or gate called Exp and a third called Lim Comp Parameters Gain Makeup The Gain control adjusts the gain makeup This gain element is used to compensate for the overall gain reduction caused by reducing the dynamic range of the signal Compression Threshold The Thresh control adjusts the compressor threshold This sets the signal level above which gain reduction occurs The control range is 50 to OdB Compression Ratio The Ratio control adjusts the compression ratio This sets the gain reduction ratio input to output applied to signals which rise above the threshold level The control
108. OR Select an Aux bus or a reduction Sub Bus to control the feed send level to the selected bus Select a Sub Bus that has been set up for bus reduction to control the independent feed fader for that bus See page 177 for details on bus reduction Step 3 Press the Auto Monitor soft key when a bus is selected to automatically switch that bus in to the monitoring chain whenever the Faders To key iS pressed Faders to Aux While BLUE Faders To is active any of the Aux bus selection keys may be selected and the Aux key will be illuminated All channel faders now control the level at which their signal path is sent to the selected Auxiliary bus Bus Master faders are excluded The muTE key now controls the aux send ON OFF control The mute and fader controls may be automated and will record data for the aux bus send level pan and ON OFF parameters Use the enable keys next to the Master fader to enable these parameters for automation Faders to Reduction Bus While BLUE Faders To is active Sub buses which are configured for bus reduction may be selected All channel faders now control the level at which their signal path is sent to the selected Sub Bus For more details about Bus Reduction see page 177 The mute pan and fader controls may be automated and will record data for the bus send level pan and assignment parameters Use the enable keys next to the Master fader to enable these parameters for automation The reduction
109. Page 66 TRANSPORT January 8 2013 10 02 40 01 To locate to a Mark Step 1 Step 2 Step 3 Step 4 Press the Go To button Press the mark soft key The Marks dialog appears on the Edit Screen Index Time Line 00 02 56 18 00 03 28 09 00 04 06 10 00 04 25 11 00 04 39 11 00 04 51 01 00 05 13 09 00 05 46 21 00 02 00 18 00 04 03 10 Video Locator 0 Video Locator 1 Video Locator 2 00 07 57 12 Video Locator 3 00 06 42 01 Video Locator 4 00 05 55 05 Video Locator 5 SERB Vey euUeUn coonmqqaqannnrg f parerea There you can choose a Mark with the mouse or scroll down to it with the Jog Wheel or step down to it with the key Having chosen your Mark press the Go To button again or ENTER to locate to the displayed timecode or Play to locate and go into play immediately or press Esc upper left key to close the dialog without locating anywhere anywhere While the Marks dialog is open you can do all sorts of other things to Marks like rename them change their timecode location remove them from the list and so on This requires mouse clicking and uses familiar dialogs Note double clicking with the mouse on a mark locates you there without closing the dialog This can be very useful Page 67 TRANSPORT January 8 2013 Go To Clip A Clip is a piece of audio Clips are created by recording and editing They all have names Go To Clip allows you to display a list of
110. Pass 00 00 43 09 13 12 38 The Undo List shows a Automation Pass 00 00 35 12 13 12 28 mixture of audio Paste 00 00 34 20 13 04 47 events automation data events and combined audio data events 13 04 35 13 03 22 RecordClips 00 00 24 03 13 03 19 RecordClips 00 00 03 01 13 02 49 The Undo menu shows a list of undoable events with some detail about the type of event This will help you choose which event s you want to undo Red events are ones that you have already undone and can be redone The Time column shows the time of day that the event occurred You can undo to any point in the list in the following ways Step 1 Double click the event with the mouse OR Step 1 Jog down to the event using the Jog Wheel Step 2 Press the ENTER button this also closes the Undo List You can locate to the PlayHead timecode of any event by selecting it and pressing the Locate softkey Undo Follow When you undo or redo an event the system can help by restoring the conditions under which you first made the change This may include optionally the transport location Zoom level track selection and track display which tracks are displayed Each of these options is available in the Setup General Preferences Projects dialog as shown below Page 136 EDITING January 8 2013 General Preferences x Options Audiobase Playback Video Capture Projects Scrollers Themes Audio Plugins Autosave E
111. Q In in groups like EQ ALL or choose everything with All Params A second press of All Params will turn everything off For this How To enable only Fader and Pan If you are making a baseline pass for all paths press All Chans but not for this How To Press Exit to return to the Mix menu for the next item Note that the Fader and Pan controls have blue triangles next to them showing that they are enabled for automation Page 263 AUTOMATION January 8 2013 On Stop Setting The on stop soft key controls what happens to automation values after you stop writing e g when you press STOP during an automation pass Press the soft key repeatedly to cycle through the options Return gt the last value you wrote is ramped to the previous value of the parameter using the Glide Out Time see Utils menu Hold gt the last value you wrote is held until the end of the Project erasing all following changes Event the last value is held until the next event i e change in value that you wrote previously using the Glide Out Time see Utils menu Set the value you want Working With the Pad Select signal path s Turn MULTI on if you want to change values on all the selected paths simultaneously Press the Write Trim button until Write is selected Press Play and then auto or vice versa The Level and Pan backgrounds go red and begin writing values Move knobs then press Stop Enabled controls go into read Press Play
112. Range Ratio Attack Release Expander Gate imiter Threshold attack Release EQ sf Paget Gain and Frequency for bands 1 to 4 Page2 Gain and Q factor for bands 1 to 4 rage 2 an nd refs odes r wes 18 Pelican Alora frames oti Mode Buttons Mode Buttons affect the way all 12 columns of controls are configured The default mode is Strip Mode where each column shows one page of controls for the fader directly beneath it The other modes are described in detail below BLUE The BLUE button has exactly the same functions as the one in the Strip buttons e Exposes alternative strip pages e Reset parameters when held down while they are touched e g set faders to 0 dB Chan When Chan is pressed the entire ILP is toggled into Channel mode When it is on all 12 sets of controls are used for the currently selected channel This might be a Track a Live Feed or a Bus Note Buses do not have a full set of controls For example they do not have equalizers Aux sends or Expander Gates To change the selection of Current Channel you can do any of the following e Press the CALL button on a fader e Press one of the Path buttons on the Xynergi Central Section panel e Click or touch one of the Name Plates on the ILP screen rack 3 Track 4 Track Threshold Threshold Thr e Click or touch one of the tiles on the Mixer Screen e Click one of the Track Numbers on the Edit Screen Page 229 THE IN LIN
113. Scanned Folders Subfolders D FairlightAU Projects Rescan Devices Empty Recycle Bins D FairlightAU Media D FairlightAU Projects NLY Diana frango Pyxis NLY 24000 clip project DR2 Dream II AAF Test 01 Frank Mix04 Frank Mix05 Hubble Briefcase Javanese Lazy Days Localise test xl D Fairlightau Projects BusTest D Fairlightau Projects BusTest Media D FairlightAU Projects PluginPhaseTest48 Mer D FairlightAU Projects PluginPhaseTest48 lt Di Fairlighbal Prniect lt Ph inin erTest4A 4 Stop Scanning Reveal Folder 4 List Media Discard Unused Media Delete J View Backup Projects D FairlightAU Projects New Project2 Si test Big Import DR2 Dream II 5678 D FairlightAU Projects New Project2 Media Sea Frank Mix05 DR2 D rc11 Testing 1140 D FairlightAU ML3_AYT40a50 ML4_audio Arm test New Project19 DR2 Dream II 1548 D FairlightAU MedialvideolmportedAudioMedi fBusTest New Project20 DR2 Dream II 10 D FairlightAU Projects New Project9 Media ChannelTest48 Plugin builder DR2 XXXXX xxx File D FairlightAU Projects Plugin builder DR2 NjA D FairlightAU Projects Media Floyd 96kHz SoftwareException DR2 Dream II 10 D FairlightAUProjects BusTest Frank 06 New Project9 MT MT Project N A D FairlightAU Projects BusTest Media Frank Mix01 Very large MT MT MT Project N A While this pane is open click on one of the de
114. Step 4 Choose the destination track for swapping The audio in the range all layers is swapped between the source track and the destination track you selected in Step 4 Numbers This command swaps the positions of two tracks including their names and all audio It does not swap the automation data Step 1 Select the first track Step 3 Press the numbers soft key Step 4 Select the second track Move This command uses a range exclusively It moves all layers of the audio from the source track to the destination track replacing the audio that was there Step 1 Select the source track Step 2 Create a range in which you want to move the audio to the destination track using the From and To buttons Step 3 Press the move soft key Step 4 Choose the destination track The audio in the range is moved from the source track leaving it blank within the range and placed on the destination track replacing the audio that was there Copy This command uses a range exclusively It copies all layers of the audio from the source track to the destination track replacing the audio that was there Step 1 Select the source track Step 2 Create a range in which you want to copy the audio to the destination track using the From and To buttons Step 3 Press the copy soft key Step 4 Choose the destination track The audio in the range is copied from the source track to the destination track replacing the audio that was there Page 128
115. The seedname is applied first then a number is appended incrementing by one for each new clip Each Track has its own seedname You can change the seedname for each track and also set the starting number at any time Press the green Record Megamode button to access recording functions The Arm menu will be automatically selected Set the Seedname Select the track s whose seednames you wish to change Since you re onthe Arm Menu this will also attempt to arm the tracks but this won t work unless they have patched inputs see How to Patch Inputs to Tracks for details If you want to set seednames for unarmed tracks see the section below called Using the Name Menu Press the seed name button to display the seed name dialog Using the Name Menu Press the name button to display a selection of all tracks Select the one s whose seednames you want to change Press the seedname soft key to display the seed name dialog Use the QWERTY keyboard to type the name then Tab or click the Starting Seed Number and use the keyboard to set it Using the Mouse The Seed Name dialog can also be accessed at any time by selecting Tracks Set Record Seed Name Page 75 RECORDING January 8 2013 The Seedname Dialog Enter the seed name you would like use for the selected tracks Starting Seed Number 1 _ Add Track name to head of dip name x cme Use the QWERTY keyboard to type the name then Tab to or click the S
116. To commands as target locations Create New Mark To create a mark press the Mark button at any time Editor Megamode This will put a Mark at the current timecode position Placing of Marks can be undone using the Undo button or the undo command in the Edit Menu It is also possible to remove the undoability of marks This is done by clicking setup General Preferences gt Projects and unselecting Marks are undoable Edit Marks You can display all the Marks you have made and change their names and timecodes remove them and more There are two ways to display the list of Marks e Press the Go To button to display the Go To menu Then press the mark soft key e Choose view Marks Either way the list of marks appears over the Edit screen Page 64 TRANSPORT January 8 2013 Index Time 1 00 53 12 21 Another new mark 2 00 53 13 10 00 53 14 07 Set Time Remove Remove All To select a Mark use the Jog Wheel the and buttons click with the mouse or type the index number on the Numpad To change the timecode stored in the mark press the Set Time soft key or click the Set Time screen button and type in a timecode then press Enter To rename the mark press the Rename soft key or click the Rename screen button and type in a name then press Enter To change the mark index click the Set Index screen button and type ina Index number then press Enter You can also press Enter to locate to the se
117. UPING January 8 2013 Link Group Display If composed of Track Feeds a Link Group is shown in the Editing Screen like this bawxbx 3k3 bevx NMjj Track 9 Track 10 Track 11 Track 12 trap is 3k bz x NMjj Track 9 Track 16 je eeeee Double click here to collapse or E expand the linked tracks You can collapse linked tracks down to the width of one track by double clicking any of the linked tracks close to its left side Do the same thing to expand them In Evo Track Link Groups are displayed with lines through the buttons as follows Unselected Link Groups Selected Link Groups Link Group Destroying a Link Group a Link groups are destroyed from the Link Group menu Step 1 Press the Setup Megamode button Step 2 Press the Link Gp button The feeds that currently belong to link groups are shown in yellow or brown Feeds available for selection are shown in dark blue Page 168 GROUPING January 8 2013 Step 3 Press the feed selection key of a feed belonging to a group Step 4 Select the unlink soft key NOTE You can also create and destroy Link Groups from the Tracks Menu under Link Tracks and UnLink Tracks respectively Note that this method does not offer the same flexibility as using the control surface Suspending a Track Link Group Track Link groups can be temporarily suspended while you work on one of the member tracks Step 1 Hold down the BLUE button Step 2 Press a track b
118. YPLUG_O1 stereo errors CONTROL XP_MAIN 1 0 00 1 00 SWITCH VST ANYPLUG_01 compression style style Parameter display CONTROL XP_SECONDARY 8 0 00 1 00 LIN VST ANYPLUG_01 complex complex i names are shown CONTROL XP_MAIN 4 0 00 1 00 LIN VST ANYPLUG_01 compression compression after the control names BEGIN_TEXTMAP BEGIN_PARAMETER VST ANYPLUG_01 compression Text map BEGIN_SEGMENT This controls the RANGE 0 001000 1 000000 display text in the SCALE 1000 000000 Pad OFFSET 0 000000 POSTFIX BEGIN_PARAMETER VST ANYPLUG_01 style BEGIN_SEGMENT RANGE 0 000000 0 333200 SCALE 1 000000 OFFSET 0 000000 POSTFIX vca POSTFIXONLY BEGIN_SEGMENT RANGE 0 3333 0 6666 SCALE 1 000000 OFFSET 0 000000 POSTFIX opto POSTFIXONLY Multi Switch text map This is a 3 Switch Three control segments are shown dividing the total range 0 to 1 by 3 The names are shown at left as vca opto and mod Immediately after creation the names would be shown as 1 z an be replaced with useful names here PLUG INS AND REWIRE January 8 2013 BEGIN_SEGMENT RANGE 0 6667 1 00000 SCALE 1 000000 OFFSET 0 000000 POSTFIX mod POSTFIXONLY BEGIN_PARAMETER VST ANYPLUG_01 saturation BEGIN_SEGMENT RANGE 0 000000 1 000000 SCALE 10000 000000 OFFSET 0 000000 POSTFIX BEGIN_PARAMETER VST ANYPLUG_01 air See BEGIN_SEGMENT RANGE 0 000000 0 499900 Three yee segments are shown pectic dividing the
119. a link group is created you have the option to apply default pans If you do this the number of members determines the format of the link group If default pans are selected each member of the group is panned to one element of the system bus that has the same number of elements Normally the factory bus formats are used and this works out as follows If 2 Feeds are linked they are panned LR If 3 Feeds are linked they are panned LC R If 4 Feeds are linked they are panned LC RS If 5 Feeds are linked they are panned LC RLS RS If 6 Feeds are linked they are panned LC RLS RS B If 7 Feeds are linked they are panned LC RLS CS RS B If 8 Feeds are linked they are panned LLC C RC RLS RSB Page 165 GROUPING January 8 2013 It can happen however that more than one Bus Format has the same number of elements A common example is Dolby 5 1 and SMPTE 5 1 which are both useful in different contexts In this case a soft key in the Pad will allow you to make the choice See Creating a Link Group below for details Normally each member is panned hard to one Bus Element position spread is set to maximum divergence is set to minimum and rotation is set to zero This fixed pan configuration is optionally chosen when the Link Group is created and cannot be changed afterwards If fixed panning is chosen and the link group format contains a Boom channel the assignment of the corresponding member is achieved by Stem Assignment to the Boom ele
120. a project is created you can specify the number of tracks To do this e Click the File gt New command in the menu above the Edit screen or e Press the New Proj soft key in the Project Megamode In either case you will see a dialog box where you can select the number of tracks With Open Project If you wish to change the number of tracks in your project you can e Press the track count button in the Project Megamode or e Click the Tracks Set Track Count command in the menu above the Edit screen You will see a dialog where the number of tracks can be changed WARNING If you remove tracks containing clips the contents will be destroyed with no UNDO Displaying Channels Audio and MIDI tracks are displayed on the Edit Screen Live Feeds and Buses can also be displayed but only when mix automation is active Mix On is on The latter is intended for displaying automation graphs All channels are displayed on the Mixer Screen They are fixed in width and can be scrolled from side to side Page 32 CHANNELS January 8 2013 Number of Tracks on Edit Screen Using Buttons Select the number of tracks to display by holding down the BLUE key and pressing one of the Numpad keys labeled 1T 2T 4T 8T 16T 24T 32T and 48T The most recently selected track always appears in the track display If Track 1 is displayed your Pyxis Track video track if there is one in the project will also be shown Step 1 Hold down the BLUE key St
121. ading Mixes nesses 249 MX UNGO Sia 250 System Mix Save FUNCTION ssec 251 The Mix M nu ccceccccsscessseeeaeeeeeaeeeseeeesaaeees 251 PLOVIQW ssssessssnsnsusansnensnsnnsnnnennnnnnsnennnsnsannnan 253 The Utils Menu cccccsscessseeeeeesseeeseeeeaaeeees 255 MiX Editing oo ccdu 35sec anaa ateata rann aiina 255 Import Automation from Another Project 256 Automation On SCreen ssssssssssssserrsrsereeresns 257 Automation CUrVES s sssssssssssssssrsrssrrnrsererrenns 258 Data Storage iccceccedecsecteccsivccsiesieteessseeeceverens 262 Mix THINNING oaeeionii r a arik en 262 Using the Pad to write Automation data Tutorial sd ede E EE TEE T 263 PLUG INS AND REWIRE 005 265 INO UGH ON E EOT 265 General Capabilities ccceseeeeeeeseeeeeeeeees 265 VST And VSTi aiana oaran radiada 265 Using VST Effects in EVO ccsecsseeeeeeeeeeeeeee 266 Plug in Latency and Compensation 267 INSTANT AU ON sec escewcied aa aani 268 Automation Of Plug ins sece 270 Controlling Plug ins ON Screen sessen 270 Controlling Plug ins on the Pad eee 272 Plug ins in the ILP ceeeeeessseeeeeeseeeeeeaaees 277 Clip based Plug ins cecseeeeeesseeeeeeeeeeeeeaes 277 Using VST Instruments in Evo secsec 279 ROW E A E E T 279 MONIT OF Syivesicccdeciviciete id cesteesiteseeeesens 283 Toggle Main and ALT Speakers sses 283 Choose Speakers cccececesseseeeeeeseeeeeaeeeeeeaes 283 Configure M
122. ail In the detailed mode SHAPE refers to the type of filter being used for that band with a choice of Notch Bell Hi Shelf or Lo Shelf Range refers to the frequency range in which the band operates with a choice of low frequency LF low mid LM high mid HM or High Frequency HF Page 3 Bands 3 and 4 are shown in the detailed mode Page 4 Hi and lo pass filters are shown Filter bands In Out at left Hi Lo selector at right Hold down the aut key for more functions EQ ALT EQ In Out is toggled by an upper soft key When EQ is in circuit its graph line changes from grey to heavy yellow and the Eo In button has a bright LED above it The four EQ modes are selected on the lower soft keys Path Details Levelis the main channel fader Shown as OFF if below 99dB BLUE Touch Level knob or Fader gt set level to 0 dB Pan values gt percentage left right or front back of center BLUE Touch Pan LR knob gt set Pan LR to center Spread applies only to Link Groups It is a measure of how wide the elements are panned into the Surround field Divergence measures how tightly signal is panned to one position Rotate allows a signal path or Link Group to be rotated in the Surround field Hold down the aut key for more functions Path ALT Level ON MUTE is the main channel MUTE switch Solo gt main channel solo Solo Safe prevents path being muted when another is soloed Insert IN gt needs physical insert sen
123. aking a marquee with the mouse hold down Zoom and click and drag a rectangle over the graphic display in the Edit Window See Graphical Display below for details Control Types Both normal and ALT controls have three types Linear Turning the pot increases the value of the parameter being controlled Normal controls display a line which gives an idea of the parameter value ALT controls do not display this line To see the current value of the parameter look at the graphic display of the plug in Toggle A Toggle is a switch with two positions Normal toggle controls are rotated to switch between the two positions The gearing is set high so that only a small rotation is required ALT toggle controls can be switched by simply touching them with the ALT button held down Turning the control also works Toggles can be labelled to show the two values of the parameters they affect e g On Off In Out Pre Post etc With many plug ins these values have been preset at the factory To change these or set your own values see Plug in Editor below Multi Switch Many parameters have multiple specific values For example the release for a compressor may be given as fast medium slow instead of having a value in milliseconds In this case the appropriate control is a 3 switch A Multi Switch is defined as having a number of positions from a 3 switch to a 10 switch With normal Multi Switch controls turning the pot advances the
124. all the audio needed from that reel optimizing to reduce the amount of shuttle time The software will then request the next reel and continue in this vein until the conform is complete Events that cannot be recorded are marked E Error Reasons for this can include Bad timecode causing lost sync before the end of a recording Tape machine not locating to the pre roll point The software will continue after errors of this type and complete as much of the conform as it can Reconform Reconform uses an existing project or more than one project as the source audio for a Conform There is no Capture process as the audio is already present on hard disk but otherwise the process is very similar to Conform Each reel in the EDL may be mapped to a different audio project Step 1 Set up Track Mapping as for Capture Commonly all tracks will be involved Page 341 Step 2 Step 3 Step 6 Step 7 PROJECT AND FILE MANAGEMENT January 8 2013 The Record Tracks correspond with the source tracks from the existing Source Project Select Edits to Reconform as for Capture Link Reels Each reel can come from a different project if required Use the Reel Linking dialog to choose the project for each reel select a reel then click the Project button and browse to the correct Project to be linked Reel Linking G FairlightAU Projects DR_AMBIG DR_AMBIG DR2 03000 G FairlightAU Projects MT_Foreign MT_Fo
125. all the media at that end of the original recording After you drag the mouse to the point you want and release it the clip is trimmed to that position Fade Points Dragging a Fade In or Fade Out point horizontally lengthens or shortens the fade at that end of the clip Fade Curve Points The Fade In Curve Point and the Fade Out Curve Point can be dragged vertically to change the X Level of the fade and horizontally to change the X Point of the fade Clip Level Point The Clip Level point can be dragged vertically to change the playback level of the clip The waveform of the clip will change to reflect this new level Double Clicks e Double click on Trim point extend to maximum e Double click on Fade point remove fade e Double click on Curve point make fade linear e Double click on Level point set Level to 0 dB Edit While Playing All Evo edits can be performed while the transport is in play If the clip you are editing is actually being played at the time it will take a second or two to update and resume play To make editing easier while playing you can view the tracks as stationary clips with a moving Play Head To do this click setup gt Locked Playhead until the tick is removed Page 141 EDITING January 8 2013 The Edit Toolbar Audiobase Meters Patch Redo Cut selected Paste Smart Smart T O reverse clips or clipboard Pane Pane page last undo range Display Clip EQ Clip Undo Erase Copy layering Smart Search
126. ample 23 58 39 03 00 02 58 19 Andrew Haven t I seen you before 00 02 19 19 00 03 19 19 Bill froggs are really cool 00 04 57 07 00 09 42 18 Do not look now Commas occuring in the text field will confuse the software unless the field is surrounded by quotation marks e g 00 02 19 19 00 03 19 19 Bill froggs are cool really cool Adding Cues Manually Step 0 Optionally create a range covering the cue you want to add This is probably the quickest way to set the In and Out times for your cue If there is no range the cue will be created with the transport position as its In time and 5 seconds duration Step 1 Click Add or press the add cue soft key A dialog appears for writing the text of your cue Enter the text For the ADR Step 2 Enter the text and click OK Page 83 Step 3 Step 4 00 00 09 25 00 00 10 11 00 00 11 15 00 00 13 01 Step 1 ADR January 8 2013 If necessary set the In Point of the cue locate the transport to that point and click From Your current position will be shown in a dialog You may accept this by clicking OK OR Click From type the timecode you want and click OK 00 00 11 14 00 00 15 11 00 00 13 06 00 00 15 25 If necessary set the Out Point of the ADR cue in the same way The cue is shown as below I hope you don t mind Sunrise and sunset It s always been this way The long and the short ADR Characters Your project may contain a list of characters and the cues
127. annel Wave or other file e By Recording into a Link Group of tracks Once a clip has been defined as multichannel operations on one channel of the clip eg EQ affect all other channels Multichannel clips can be broken apart using the command Edit Cleave Multi Channel Clips Clips that have previously been cleaved can be restored using Edit Restore Multi Channel Selecting Channels Selecting channels makes them the target for commands and parameter changes With audio tracks clips on the selected ones are targeted for clip based editing Using Track Keys In most layouts 12 keys beneath the soft keys allow track selection The Bank keys at the ends allow selection of any group of 12 tracks Press a dark track selection key to add that track to the selection Press a lit track selection to remove that track from the selection To select a range of tracks press and hold down the first track select key and double click the last track selection key you wish to be active All other tracks will be deselected To select a single track double click on the desired track selection key All other selections will be deselected Selecting a track which is a member of a link group will select all tracks in the link group The track selection may also be changed by holding the Track Sei key to the left of the jog wheel and turning the jog wheel or pressing the or keys This is useful for moving selections from one track to anothe
128. annels Step 3 Hold down the sex button Two new buttons appear beside it Track Track fm to to Solo Mute Step 4 Press the to Solo button The SEL layout remains but the selected channels are now soloed These channels are the ONLY channels soloed if there were other channels soloed before they no longer are To mute your selected channels is the same procedure but press to Mute in Step 4 Solo Modes There are three solo modes e solo in place or SIP e after fader listen or AFL e pre fader listen or PFL SIP mutes all other feeds leaving only the soloed feeds feeding the bus being monitored SIP supports monitoring in any format AFL and PFL modes replace the current monitor source with a stereo solo bus whenever a feed is soloed All soloed feeds are routed to the solo bus Soloed link groups are automatically downmixed to allow all their members to be monitored in the stereo monitor bus normal monitor down mixing occurs between the monitor bus and the selected speaker set The AFL solo signal is derived after the feed fader and mute PFL solo is derived before the feed fader and mute Page 51 CHANNELS January 8 2013 Setup AFL PFL bus By default there is no AFL PFL bus set up in the system this saves you from using up 2 bus elements that you might not need To create a bus for AFL PFL Step 1 Type ctrl SHIFT uU The System Variables display is shown Desk Functions Allow PFL reserve s
129. antly place all mix items in Read e Press the Mix on key to disable the mix automation system desperate measure but it works Transitions Using Glide When the automation system makes a transition from Write or Trim to Read Glide out data will be written to smooth the parameter transition as described below The Glide Out transition starts at the point where the system leaves record and finishes at the Out point plus the Glide Out time When a transition is made from Preview to Write Glide In data will be written The Glide In transition starts before the point that the system entered record In point minus Glide In time and finishes at the point where the system entered record Glide times are set in the utils menu On Stop Mix items currently in Write or Trim return to Read when the system leaves automation record using the Stop command The data that is written after the mix item returns to Read is determined by the on Stop menu item in the Mix Menu If On Stop Hold is selected all the following mix events are deleted so the last written value remains in force for the rest of the project If On Stop Return is selected the parameter ramps to the previously recorded value at the end of the Glide Out time set in the utils menu Setup Megamode If On Stop Event is selected the last written value remains in force until a previously recorded event is encountered At this point the parameter value ramps to the new value over t
130. any ClipStores you can access It does not require any database setup or software Clip Search incorporates the following capabilities e Search for clips by name within the current project and attached libraries e Search within Clip Bins and ClipStores e Preview or audition found clips Page 160 AUDIOBASE CLIP SEARCH CLIPSTORES January 8 2013 e Paste found clips into the project e Locate to found clips e Pop change layers of clips within the project e Export clips Accessing Clip Search Clip Search can be accessed in the following ways Press GoTo gt Clip Click View Clip Search 00 02 20 23 00 02 29 01 00 48 09 18 00 48 35 15 00 48 43 18 00 49 46 14 00 16 07 15 00 48 11 17 00 49 14 12 00 51 05 10 00 03 16 03 00 03 00 16 00 02 56 02 00 03 05 10 00 03 11 09 00 04 17 16 00 04 23 05 00 04 25 11 La 2 3 3 3 4 3 1 2 2 4 1 2 2 1 1 3 1 1 2 Be BESS While the Clip Search dialog is open you can e Filter the list by typing a sequence of characters in the text box Only clip names containing that sequence will be displayed To quickly move the cursor into the Search field press the Search soft key e Sort the clips in track order start order end order or duration or clip colour by clicking on the column header Clicking the header a second time reverses the sort order e Double click any clip to locate to its timecode e Press the Playhead soft key or select the Unde
131. ar is yellow if switched OFF the bar is violet The section of the bar above OdB of gain is shown in red e The pan display offers a sophisticated representation of the signal path panner The display always shows a 5 1 sound field as the panning information for any path can be applied to any format bus to which it is assigned The red circle indicates the current pan position If a link group has been called the pan display shows a red circle for the pan position of each member and a yellow circle for the position of the virtual link group master When diverge is applied a white circle represents the perceived image size e When a bus is called the output box displays the output patching showing each bus element and the user and system names of the physical outputs to which they are connected Additional Mixer Screens Mouse Control Every switch and control in the Mixer Screen may be changed using mouse clicks For switches this is simply a case of clicking on them to toggle their values For faders the knob must be clicked and dragged up or down While you are doing this the current value is displayed For rotary knobs as in the EQ Zoom panel shown below first click and hold near the center then drag the mouse in a ring around the knob A tooltip shows you the current value Click the up down buttons for fine change Click here Then drag the mouse around the knob Box shows the current value Hover over any k
132. assigned to different ones Creating characters Click in the Character box which normally shows lt Show all gt Step 2 Type the name of a new character Step 3 Click the Add button Filter by character To show only one character s lines use the Character drop down menu to select one character Page 84 ADR January 8 2013 Sort by character To sort the list by character click the Character tab at the top of the ADR list box From ia ue Le 00 00 09 25 00 00 11 14 I hope you don t mind Andrew 00 00 10 11 00 00 15 11 Sunrise and sunset Peter 00 00 11 15 00 00 13 06 It s always been this way Peter 00 00 13 01 00 00 15 25 The long and the short In the same way you can sort by From time To time or dialog alphabetically Click any one of these a second time to reverse sort ADR Preferences Once you have entered all the cues that you want to use you may set up your preferences by clicking the ADR Menu and selecting ADR Preferences The following screen is displayed Page 85 ADR January 8 2013 The main purpose of this dialog is to control beeps and the streamer The streamer is a pair of vertical lines moving across the Pyxis screen during the Preroll to the cue At the same time as the audible beeps the line extends upwards and downwards briefly The two lines come together at the cue point and a large cross is shown The extensions and cross can be given a different colour to the lines Note the
133. ast non standard listening format you used and calls it the Alternative Format This can be heard at any time by pressing the ALT Format button in the Mon Megamode press mon then ALT Format This guide will show you how to choose a listening format Get Ready Press the green Mon button Press the Format Setup button Choose Format Select any of the formats shown on the soft keys The system immediately switches to that format Note choosing a format wider than your current Speaker Set has no effect You cannot fold up to a higher format Choose any other mode to leave the Format Setup menu Page 285 MONITORS January 8 2013 Note Stereo and Mono compatibility are immediately available as toggles on the Stereo Comp and Mono Comp switches unless the current speaker set already has this format Configure Monitor Sources Overview The standard source for monitoring is the MAIN system bus You can choose many other sources including other system buses or External Source Sets which are used for your CD player video machine etc The system remembers the last non standard source you chose and calls it the Alternative Source This can be toggled using ALT SOURCE in the Mon layout press Mon then ALT SOURCE This guide shows you how to choose an alternative monitor source and configure External Sources Get Ready Press the green Mon button Press the Mon Setup button if it s not already lit Choose Source
134. at the left of the signal path indicates the format or element name of the path and the user name and system name of the physical input from which itis patched e The input meter shows the signal level at the input of the signal path e Ifa track feed is selected the input fader level is shown e The EQ display shows a graph of the equaliser response e The dynamics display shows the composite transfer function of the entire dynamics section The display also includes gain reduction signal meters for all three sections If the dynamics are switched IN the graph is highlighted if switched OUT the graph is dimmed e The insert send and receive I O patching is displayed If the insert is switched IN the insert display is highlighted if switched OUT the display is dimmed e The main fader level for the signal path is displayed with a numeric display of the fader gain This is an active control e The direct out level pre post status and output patching is displayed If the direct out is switched ON the direct out display is highlighted if switched OFF the display is dimmed The direct out level is shown with a horizontal bar If the direct out is switched ON the bar is yellow if switched OFF the bar is violet The section of the bar above OdB of gain is shown in red Page 195 MIXING January 8 2013 e The Auxiliary bus display shows the status of each aux send The send level is shown with a horizontal bar If the send is switched ON the b
135. atermark Audio Plugins Options Audiobase Playback Video Capture Device Decklink Video Capture F m Capture Settings Standard Y 720 x 576 8 bit 25 00 fps Capture Size Input Source Record Format DY25 MEDIASUBTYPE_UYVY Capture Format Frame Offset jo 25 FPS Presets z Save Delete Capture Size is a default value based on whether Dream II is launched in Standard or High Definition mode and the current project sync settings See View gt Smart Pane gt Sync If this setting is not the format you are wishing to capture it is recommended you consider exactly what format you wish your project to be and configure it in consequence The Device value tells Dream II which video hardware capture unit will provide the incoming video signal Under normal conditions this will be Decklink Video Capture Input Source is currently not activated Setting the correct Video Input must be performed within the Decklink Control Panel See above Page 302 PYXIS TRACK January 8 2013 Record Format is the video file and codec format for capturing the incoming video signal The options available are e DV25 DV Codec 3 5Mb sec SD NTSC or PAL ONLY e MPJEG e Uncompressed e Huffman Lossless For Standard Definition systems DV25 is the recommended setting For High Definition systems Huffmann Lossless is a good reliab
136. ations are deselected but if Multi is ON the sources remain selected through as many patchings as you like View Buttons i j E yy The View buttons control which names appear on the tiles If you choose View System the names shown are the functional system names like Track 5 Live 3 etc If you choose View User the names will be the ones you have given to these signal paths For signal paths where you have not given a name the system name is used The Info Button Track 1 Sk20 ATL Track 3 I Track 1 Input Pressing the Info button allows you to see more detail about specific tiles To do this press Info then click on any tile The system will show a box with information about the source and destination patching associated with that tile What are the Categories Each category name has two parts The first part can be Track a recording track Page 57 PATCHING SIGNAL PATHS January 8 2013 Live a Live Feed which is a full featured channel bringing audio directly to a bus Main the Main mix bus MT Bus a Multi track bus as used in traditional mixing systems Sub Bus a multi Element bus used for extra mixing functions Aux Bus a mono or stereo bus tied to the Auxiliary sends on the channels Mon shows the elements of the Control Room and Studio monitor paths Analog an analog physical input or output Digital an AES EBU physical input or output MADI a MADI physical input or out
137. ave the Param Enable layout Using the ILP2 Enable Button You can enable any parameter by holding down the Enab button in the ILP2 and touching the control that you wish to enable You can disable it the same way Using Screen Enables There are enable buttons on the ILP screen and the Mixer Screen Clicking on these toggles a parameter enable group on and off Page 242 AUTOMATION January 8 2013 Enabling Plug ins Press the plug in button in the Param Enable layout described immediately above This enables all plug in parameters When you are ready to record data for a particular parameter use Touch Write to access it described below Enable Signal Paths Enabling signal paths for automation allows you to control the paths on which automation may be recorded To enable Signal paths you select them from a mixing menu as detailed below Step 1 In the Mixer Megamode press the Mix Or Pad Lock button Step 2 Select paths on the Evo path keys either using the 12 track display or pressing the seEL button Mix to access more channels This includes Track Feeds Live Feeds Main Bus Sub Buses Aux Buses Multi Track Buses or Groups This selection of enabled signal paths is also referred to as the mix mask Press the ALL CHANS key in the Param Enable layout to quickly enable all signal paths This feature should be used with caution Enabled paths do the following e They enter Write Trim Preview when
138. ayed Step 2 Click the Display button or press the Display soft key in the Auto Curves menu Page 258 Step 3 AUTOMATION January 8 2013 Select the parameter to be displayed use either the pull down menu or a preset The pull down menu can also be accessed using the Target soft key in the Auto Curves menu Note that each track may show its own selected parameter The Display button is also used to turn the curves off To remove the display of automation curves Step 1 Select the tracks where the automation is to be displayed Step 2 Click the Clear button or press the Clear soft key in the Auto Curves menu Presets Presets are used to quickly access a particular parameter The first six buttons are provided with factory presets but you can replace them with your own To apply a preset simply click on it when the Display button is selected To create a preset Step 1 Turn Display on if necessary Step 2 Select a parameter to be displayed using either the pull down menu Step 3 Click the Save button Step 4 Click a preset button Step 5 The system will request a name for the preset You may use the suggested name or choose your own The Curve Display Fader Level Automation data is shown as a green line with the name of the parameter to the right of the cursor For switched parameters like Mutes the line is shown high when the channel is on and low when it is muted as shown below Page 259 AUTOMATION January 8
139. ayed in the XCS Panel Page 203 MIXING January 8 2013 Automatic Zoom Panel Display Zoom Panels can also be displayed automatically whenever you touch controls around the Evo Pad To enable automatic display Step 1 Select the utils menu in the Setup Megamode Step 2 Press the Zoom soft key until its label reads ON Step 3 Select your Zoom hold time using the Hold soft key The Pad controls determine which Zoom control is displayed Touching one of them will display the Zoom panel for the length of time set in the Hold soft key The Equalizer Panel Library Page 204 MIXING January 8 2013 The Dynamics Panel DYNAMICS Library The Pan Panel Track 19 Library Use the mouse to move the red dot around the pan field Page 205 MIXING January 8 2013 The 3D Panner There is also a 3D display for pan as shown below Track 14 The yellow ball is used when a Link Group is displayed It can be moved with the mouse The third dimension controls D U and Distance have no effect on the audio in this version of software To enable the 3D panner open the System Variables dialog Step 1 Type ctrl Shift U The System Variables dialog box is displayed Meters Permanent Peak hold mode Main VU Follows 5 0 Peak display limit dB 20 0 VU reference level dB TE o 0 0 VU Trim left dB Clear Peak on Record Play oo VU Trim right dB V All Meters use same met
140. back ReSync Creates a clip using the selected media at the original recording timecode and on the original track Close Closes this dialog box The Escape button can also be used Importing Files Evo has a number of features to allow the import and export of audio clips and Projects File Types DREAM II can import the following file types Video Files these can be displayed on the Pyxis track Pyxis Projects these are projects created using the program Pyxis Page 332 PROJECT AND FILE MANAGEMENT January 8 2013 OMF Files these are files from other manufacturers ML Files these are files from older Fairlight products AES 31 Files these are files from other manufacturers AAF Files these are files from other manufacturers MXF Files these are files from other manufacturers Importing Video Files See Pyxis Track on page 296 Importing an OMF Step 1 Click on File then choose import OMF Step 2 Browse to the location of the omf and select it Press OK Step 3 The following dialog box is displayed 00 00 00 00 9 9 2or00 00 00 z fo 9 Import Media Preview Media references the audio files from the omf this may cause slowdowns on large projects Note If the project is an MT project stuffing the fuffs will render all audio to the current project If the project is a DR2 project using the Localise command will place all the audio in a folder inside the project folder
141. be used in a logical context interacting with digital audio and MIDI elements Dream II is a VST host enabling VST plug ins to interact with the Dream II mix environment As of this writing Dream II uses version 2 4 of the VST SDK Software Development Kit VST Effects versus VST Instruments VSTi A VST effect is a type of VST plug in that is used to process audio A VST effect might be a Reverb Compressor Flanger or EQ A VST Instrument is typically used to synthesize sound or play back sampled audio VSTi s have rapidly replaced hardware synthesizers and dedicated samplers due to their flexibility repeatability and low cost Using VST Effects on Fairlight systems Some typical scenarios include e Insert a VST Compressor or EQ plugin directly on a track or live input busses and Auxes e Patch an Aux Output to a Live Input then insert an VST Reverb or Flanger on the Live input Now all channels feeding the Aux will be routed through the VST Effect Page 265 PLUG INS AND REWIRE January 8 2013 Please note that Fairlight supports VST effects from Mono to 5 1 and beyond These can be inserted on mono channels or on Link Groups If a stereo VST Effect is inserted on a LCR LCRS or 5 1 Link Group the left and right channels will be allocated to left and right Link Group channels automatically Using VST Effects in Evo Setup and installation Step 1 Install your plug ins as outlined by your plug in manufacturer The plug
142. but use the command Process Change Media All Related Clips Undo and Redo Dream II has a powerful undo system that allows you to go back over your work in multiple steps Every time you record audio perform an edit or make a change to the automation data in your project the system captures an Undo File This is a file representing the project as it was before you changed it These files are written to disk and can be accessed at any time while the project remains open With some clever manipulation you can even access them later for information about this please see Undo Files on page 326 The simplest way to undo a change is to press the unDo button located to the right of the Jog Wheel Similarly reversing an undo can be done with the REDO button How many steps are available ALL of them since you opened the project The Undo Menu and List You can see which edits are available to undo and redo by inspecting the Undo Menu and List To do this do ONE of the following Step 1 Hold down the unpo button for a couple of seconds OR Step 1 Hold down the ctrl button and press the unpo button OR Step 1 Hold down the BLUE Key and press the unpbo button Page 135 Edit PlayHead Time EDITING January 8 2013 Paste RecordClips 00 00 31 19 00 00 25 07 00 00 27 08 Close Automation Pass 00 00 57 15 13 13 54 Paste 00 00 47 02 13 13 12 Automation
143. button see Patching and Routing for details Record Level Sets the gain in the recording path This only applies to Tracks with inputs patched to them Insert Switches the Insert In and Out of the channel Only works if an Insert Return has been defined for the channel This is done using the Patch I O button see Patching and Routing for details Direct Output The rotary knob controls the level of the Direct Output while the switch mutes and unmutes this output Only works if a Direct Output Port has been defined for the channel This is done using the Patch I O button see Patching and Routing for details Main Bus Assign Toggles the assignment of the signal path to the Main Bus Holding down the ALT key while pressing the Main button causes the Bus Assign window to display on the Mixer screen Page 231 THE IN LINE PANEL ILP2 January 8 2013 Equaliser The equaliser provides four bands of parametric EQ and two filters Each parametric section can be switched to band pass reject shelving or notch Each parametric section can be switched to one of four ranges LF 10 250Hz LMF 50Hz 1k50Hz HMF 450 8k00Hz HF 1k40 22kOHz Each parametric section provides 18dB of gain Q has a range of 0 3 to 10 When notch is selected the filter has a gain of 0 to 99cB Gain controls include an IN OUT switch for the band Hi Gain High Frequency gain for the channel Hi Mid Gain High mid gain for the channel Hi Mid Fr
144. c button Step 2 Press the 1 2 or 3 button Step 3 Release the Loc button The same thing in latched mode Step 1 Press the Loc button Step 2 Press the 1 2 or 3 button Step 3 While Loc is latched you may locate to any stored timecode by pressing the i 2 or 3 button Step 4 Press the Set button to unlatch it Notes Before you Set a timecode into a Location its value is zero and can be used to locate there The stored timecodes include only whole frames so you can only use them to locate to frame edges This makes them inappropriate for holding fine edit points For these you should use Marks see Using Marks in the How To Chapter Basics section Fader Sets When used with EVO fader panels type FP2 Fader Sets allow different combinations of channels to have their faders mapped to the control surface To activate a fader set momentary mode Step 1 Hold down the Fader Sets button Step 2 Press a button from 1 to 9 Step 3 Release the Fader Sets button The same thing in latched mode Step 1 Press the Fader Sets button Step 2 Press a button from 1 to 9 Step 3 While Fader Sets is latched you may choose any fader set by pressing a button from 1 to 9 Step 4 Press the Fader Sets button to unlatch it Mixer Set Mixer Set is an option that takes over some of your faders and automatically places selected channels on them As you select and de select channels they dynamically come and go from the faders This makes it very easy to m
145. can build and access Plug displays the current plug in on the current channel using all the ILP controls u2 is an ILP layout that you can build and access Chan displays all the regular channel parameters for the current selected channel u3 is an ILP layout that you can build and access Enab is used to enable parameters for automation Hold it down and touch any ILP control or the fader mute or panpot below _ Copy is used to copy parameters between channels See below Curve is used to display a parameter s automation curves on the Edit Screen Hold it down and touch any ILP control or the fader mute or panpot below Open is not used in this version of software ALT is used to access a second function on any ILP control Hold it down or latch it and the display will change to show the ALT function Using the Copy Button To copy parameters between channels Step 1 January 8 2013 Strip Buttons a B gt x AJ G Hold down the BLUE button and the Enab Copy button Page 227 BLUE is used to access the lower of any pair of functions e g Path Filter Also hold and touch ILP controls to set default values for some parameters e g 0 dB for faders and aux sends Pan displays all the surround panning controls for the channel Path displays Channel Trim Record Level Direct out and others EQ displays controls for the four bands of paramet
146. can be done as follows Step 1 Press SEL choosing a signal path type Tracks Lives or Buses if needed Step 2 Press a signal path button Step 3 Press exit To choose a VCA Group Master press the Buses button then Bank Down until you see Grp buttons These are the VCA Masters Name a Single Path Step 1 Press the green Mixer or Setup Megamode button Step 2 Now press the name path button the QWERTY keyboard will be displayed Step 3 Use the QWERTY keyboard to type a name for the signal path Your typing appears inside the Pad area in the white box at the right Step 4 Press DEL if you want to completely remove the current name Press Backspace to remove one character of the current name Step 5 When finished press ENTER to apply the name or Exit to escape without changing the name Naming More Paths The system keeps displaying paths so you can keep naming them Choose the next signal path you want to name the QWERTY keyboard will immediately be displayed Note you may need to press the path button TWICE Press exit when finished Page 53 PATCHING SIGNAL PATHS January 8 2013 Patching Signal Paths Overview The previous topic mentioned patching inputs to tracks This section deals with the subject in more detail Before a track can be armed it must have some type of input signal or source Normally this will come from a Physical Input analog or digital It may also be a Bus Output the system Oscillato
147. ce The system sample rate is synchronised to its clock source There are many choices but normally you will use the SX20 as a sync source and lock it to whichever sync signal your studio is running Synchronization Indicators True Rate True Sample Rate shows the speed at which Evo is running It also shows the real frame rate after adjusting for Pull Up Down setting Video Detect The Video Clock Detected indicator is green when a valid Video Clock reference is detected and red when Video Clock is missing or invalid Seeking Lock The Seeking Lock indicator is green when seeking lock and red when not in use Page 350 SYNC AND MACHINE CONTROL January 8 2013 Sync The Sync indicator is green when a valid Clock Sync Source reference is detected and red when the Clock Sync Source is missing or invalid Progressive Detect SX 20 supports both Progressive and Interlaced clocks If the Progressive Clock Detect indicator is green a Progressive Clock reference has been detected and is being used as the primary sync reference Clock In Range The Clock In Range indicator is green when the Clock reference is in range and red when the clock reference is out of range Position Sync When synchronising with an external machine such as a video machine audio recorder or digital audio workstation a positional source allows the machines to tell each other where they are The Position Sync Source indicator is green when a
148. cks for these activities use the mouse to click the V1 or V2 button at the left of the tracks Startup with Dual Tracks To use the second video track the system must be started with the 3D option To do this edit the shortcut used to start the system If you are using a desktop icon to start the system add the phrase 3D to the target field it will then look something like this C Program Files Fairlight Dream II Dream ILexe 3D If you are using the Evo X button to start the system you need to edit the file C Program Files Fairlight Evo Layouts Dream II layout txt The first line should become APPLICATION app Fairlight Dream II Dream Il exe 3D If you are using a Decklink card you will also need to add the PRO2 to the startup string Hiding and Showing the Video Track To hide or show the video track on the Edit Screen use the menu commands View gt Show Pyxis Track gt Show and View gt Show Pyxis Track gt Hide Page 297 PYXIS TRACK January 8 2013 Video Track Display Offset When using a monitor with an inbuilt display such as an LCD or plasma screen the picture may be one or two frames late at play speed You can adjust for this using the General Preferences dialog To access this click Setup at the top of the Edit Screen then click General Preferences then Playback SDS Playback Video Capture Projects Original aspect Ratio v Original Size Use Two Monit
149. clips in the project then choose one and locate to it Like this Step 1 Press the Go To button Step 2 Press the clip soft key Step 3 The Clip Search dialog appears on the Edit Screen 01 05 14 06 01 05 14 19 00 00 00 12 00000000_00000000_65B908E4_7F 346339 i 48000 Hz 01 06 14 08 01 06 14 21 00 00 00 12 00000000_00000000_65B908E4_7F 346339 i 48000 Hz 01 07 14 09 01 07 14 22 00 00 00 12 00000000_00000000_65B908E4_7F 346339 bi 48000 Hz 01 08 14 11 01 08 14 23 00 00 00 12 00000000_00000000_656908E4_7F 346339 i 48000 Hz 01 09 14 12 01 09 15 01 00 00 00 12 00000000_00000000_65B908E4_7F 346339 4 bi 48000 Hz 01 10 14 14 01 10 15 02 00 00 00 12 00000000_00000000_65B908E4_7F 346339 i 48000 Hz 01 11 14 15 01 11 15 04 00 00 00 12 00000000_00000000_65B908E4_7F 346339 i 48000 Hz 01 12 14 16 01 12 15 05 00 00 00 12 00000000_00000000_65B908E4_7F 346339 4 bi 48000 Hz 00 52 09 06 00 52 09 10 00 00 00 04 00000000_00000000_65B908E4_7F35633E i 48000 Hz 00 52 10 00 00 52 10 12 00 00 00 12 00000000_00000000_65B908E4_7F35633F 48000 Hz 00 52 12 10 00 52 13 10 00 00 01 00 00000000_00000000_65B908E4_7F 356340 48000 Hz 00 52 13 20 00 52 14 16 00 00 00 20 00000000_00000000_65B908E4_7F35633E 48000 Hz 00 53 09 07 00 53 09 11 00 00 00 04 00000000_00000000_65B908E4_7F35633E 48000 Hz 00 53 10 01 00 53 10 13 00 00 00 12 00000000_00000000_65B908E4_7F35633F 48000 Hz 00 53 12 11 00 53 13 11 00 00 01 00 00000000_00000000_65B908E4_7F356340 48000 Hz 00 53 13 22 00 53 14
150. cro will play as fast as possible You may change modes and megamodes as often as you like You may press an existing macro trigger button to record its keystrokes into your new macro see Macro in Macro below Step 5 To stop recording press the macro fixed button It will stop flashing Context Macros are faithful but dumb They do not know where you started recording they only know which keys you pressed If you decide to run a macro from a completely different situation it may do something you didn t expect So try to remember the starting point of your macros or better still begin by establishing a starting point e g by selecting a megamode Adding Delay Sometimes macros run so fast that we create a race condition This happens when different parts of the Evo system get their timing wrong and events happen in the wrong order If you play back a macro from the correct starting point and it does not repeat the desired commands try recording it again but this time insert a delay To insert a delay you may e Press the add delay button if it is visible OR e Type BLUE Loc Each of these commands adds a 100 millisecond delay You can issue the command several times if you wish to add longer delays Common places where delays might be needed e After one or more jump commands e After bringing up a dialog box such as when naming a clip or a seed name Macro in Macro When you run a macro while recording a
151. cted track clip prerolls then records the length of the nearest clip on the currently selected track here prerolls then punches in at the current position range prerolls punches in at From and out at To This command is shown only when there is a range again prerolls then repeats the last recording you made Punch Into Tracks Independently Overview Using the Play and Record button punches all armed tracks into and out of record What if you want to punch individual tracks in and out without affecting others Using the track arming keys you can have individual control of which tracks are in record The methods for arming and disarming tracks are described earlier in this chapter on page 70 Page 77 RECORDING January 8 2013 Auto Recording Overview Evo allows you to record sections of track automatically with the transport doing the pre roll punch in and punch out This is done by making a range using the From and To keys then using the Record Range command on the Record menu Press the green Record Megamode button to access recording functions Patch inputs to one or more tracks and arm them Auto Rec uses a Pre Roll The Pre Roll time can be set in the ADR menu press the green Record Megamode button then apr then use the on screen dialog Auto Rec Operation Make a range as follows Locate to the desired in point and press the From key Locate to the desired out point and press the To key The rec range butto
152. curs The control range is from 50 to OdB Gate Range The Range control sets the maximum amount of gain reduction that will be applied when the signal falls below the gate threshold Once the signal has fallen below the level determined by the gate threshold minus the gate range no gain reduction is applied The control range is from 0 to 60 2dB Gate Attack Time The attack control adjusts the attack rate time constant of the sidechain detector The control range is 0 to 100mS Gate Release Time The Release control adjusts the release time constant of the sidechain detector The control range is 0 03 to 4 03mS Limiter Controls Limiter Threshold The Thresh control adjusts the limiter threshold This sets the maximum output level of the limiter section Control range is from 50 to OdB Limiter Attack Time The Attack control adjusts the attack rate time constant of the sidechain detector The control range is 0 to 100mS Limiter Release Time Press the Hold key to toggle the Release control between Hold and Release The Release control adjusts the release time constant of the sidechain detector The control range is 0 03 to 4 03mS Limiter Hold Time Press the Hold key to toggle the Release control between Hold and Release Hold time controls the delay between applying gain reduction and commencing release of gain reduction Limiter IN OUT The Lim EXP IN ouT key bypasses the limiter section Page 236 THE IN LIN
153. d When there is a range the target is all the clips and parts of clips on selected tracks that are inside the range Again the target clips are always red An exception with a range you can use the mouse to deselect a clip To do this hold down the ctrl key and click with the mouse The clip will turn blue showing that it is no longer selected You can also extend the selection using Ctrl mouse click on a clip This will cause the range to expand so that it includes the newly selected clip and it will preserve the existing selection as well Pasting Pasting the clipboard use the Enter key means putting a copy of it at the current position on whatever tracks are selected You can paste the clipboard contents at any time not just after a cut operation and as often as you like Page 106 EDITING January 8 2013 If there are already clips at the place where you paste the clipboard is placed on top of the existing clips Only the top layer is heard unless there is a crossfade between layers more about that later The shape of the clipboard s track selection is preserved when pasting regardless of track selection at that time For example if you copy clips on tracks 1 and 3 then select only track 8 and press Enter the clipboard will be pasted on tracks 8 and 10 The first track on the clipboard is always pasted on the lowest numbered track in the selection Variations There are a few extra keys which
154. d and return paths defined MAIN gt assigns or deassigns path from MAIN system bus Armed gt path must be a Track and have a patched input Page 186 MIXING January 8 2013 Bus 1 4 gt extra mode where path can be assigned to Sub buses 1 to 4 on the upper soft keys Bus 5 8 gt as above for buses 5 to 8 Dyn Details There are three modes for Dynamics All three stages of Dynamics may be active at the same time except for buses which have no Expander Gate stage To switch between modes ALT lower soft keys Mode 1 Compressor Mode 2 Expander Gate To toggle between Expander and Gate ALT Dyn Type soft key Mode 3 Limiter Threshold Ratio Range and Makeup Gain controls at left and Hold Attack and Release times at right Hold down the aut key for more functions Dyn ALT For each mode the IN OUT switch is an upper soft key The three Dynamics modes are selected on the lower soft keys Aux Details There are three modes for Auxiliary send control To switch between modes ALT lower soft keys Each mode handles 4 of the Aux sends Level is shown as OFF if below 99dB Pan values percentage left right of center Hold down the aur key for more functions Press the Path EQ Or Dyn buttons for their details Aux ALT The three Aux modes are selected on the lower soft keys Aux sends are Muted using the ON MUTE button Multi Rel MULTI allows you to change mixing parameters on many path
155. d media into a recycle bin of which there is one for each media device Specifically it removes media in the selected project s media directory that is not used by any project in the selected project s current directory It will only remove native recorded or localized media not files that have been imported from other systems The device list has a column reporting how much space a device s recycle bin is taking up To clean up the recycle bins there is a button on the dialog called Empty Recycle Bins This can be used when you are sure you do not need any media from them anymore The new recycle bins are located on each media device under the FairlightAU folder Drea II 101791 MB Dream II des 165770 MB Local Windows Forma Both 28688 MB Local Windows Forma Both 334316 MB Shared I Page 330 PROJECT AND FILE MANAGEMENT January 8 2013 Note the same thing can be achieved using Process Discard Unused Media with one difference this will remove unused media from UNDO files as well so UNDO is not possible afterwards This is great for recording sessions with a lot of useless takes because only the ones used in the project survive Recovering Lost Media Orphaned Media When you UNDO a recording or erase all its resulting clips the media is still stored on the hard disk you just don t have a clip in the project referencing it You can of course find it in the Windows system and drag it back into th
156. ders By default 12 faders are allocated to the Mixer Set but you can change this as explained below If you have more than 12 faders the remaining ones continue to display the contents of whichever Fader Set you have chosen So you can have some fixed allocations and some dynamic ones To toggle Mixer Set on or off On the Evo Center Section Step 1 Hold down BLUE Step 2 Press the 5 button Mixer Set On the Evo Center Section Step 1 Hold down the Fader Sets button Step 2 Press the 0 button Step 3 Release the Fader Sets button The same thing in latched mode Step 1 Press the Fader Sets button Step 2 Press the 0 button Step 3 If desired press the Fader Sets button to unlatch it if you prefer you can keep the Fader Page 214 MIXING January 8 2013 Sets layout handy for more changes To choose the number of faders dedicated to Mixer Set do the following Step 1 Press the Fader Sets button Step 2 Hold down the o button for a couple of seconds The numbers 1 to 24 appear on the track keys The selected number corresponds to the number of faders in your Mixer Set Step 3 Choose a number from 1 to 24 If you choose a number that greater than the number of faders in your system Mixer Set will not work correctly Step 4 If desired press the Fader Sets button to unlatch it if you prefer you can keep the Fader Sets layout handy for more changes Mixer Set Modes Mixer Set has three modes Variable Fixed a
157. dialog also selects all of the EDL events associated with that reel Clicking the A button in the Sort group causes the EDL events to be sorted according to the EDL event numbers Clicking the C button in the Sort group causes the EDL events to be sorted according to source reel Page 342 SYNC AND MACHINE CONTROL January 8 2013 Sync and Machine Control Introduction Evo can communicate with industry standard Sony 9 pin serial controlled machines with a timecode reader installed providing control over external video or audio machines directly from the Evo Evo can control up to three machines M1 M2 and M3 Of these two can be physical VTRs and the third can be Linear Timecode or MIDI Timecode Setting up Machines To choose a machine type to be M1 M2 or M3 Step 1 Press the key plus M1 key the key plus M2 key or click view gt Smart Pane gt Machine Control Step 2 The following Smart Pane is displayed M Type Config Online Servo Ti code Offset Capture Status Arm Y Analog Digital Asm Inh Ref M2 AME Remote Clie E Ec Wc 13 y p0 05 9 Type Conai Online Servo Timecode Offset Capture Status P 00 00 00 00 capt ARIAS easier CRem p0 05 43 13 00 00 00 00 Stopper M3 yxis Track 0 05 49 19 00 00 00 00 Status Arm Y Analog Digital Asm Inh Ref LTCAMTC ouT i eject 00 00 00 00 T C Generator iin Stop Generator g Video Arming Step 3 Use the type soft key or Type list box to select
158. ding is complete At this point the audio media is written to disk but it is still not safe The clip s that appear in the edit screen immediately after recording are the ONLY reference to the recorded material They are stored in the Project MT file and until that file is saved the audio is not secure FUFs can only grow to a maximum 4GB to maintain QDC compatibility and new FUF files are generated automatically as required FUFs are automatically named based on their parent project So a project named MyProject MT might have FUF files named MyProject_001 FUF MyProject_002 FUF MyProject_003 FUF and so on FUF files are automatically created in the same subfolder as the MT project You must not delete FUF files unless you wish to remove audio from your project Page 320 PROJECT AND FILE MANAGEMENT January 8 2013 When copying MT projects to a compliant QDC engine you must always be sure to copy all associated FUF files Otherwise the QDC will not be able to find all of the audio data used in the MT project 210 x File Edit Yiew Favorites Tools Help ar ak gt v Bi pP Search ey Folders in Address jo D FairlightAUProjects Test 1 gt Go Folders x Name Date Modified E 2 314 Floppy Ai al EeiTest 1 MT 36 864 KB MT File 11 03 2008 1 39 PM E B Local Disk Ci E Test 1_0001 FUF 4 990KB FUFFile 11 03 2008 1 39 PM Se Audio D
159. dio You can keep jogging and pressing ENTER as long as you like until you are satisfied with the position of the head Two Handed Trimming This is a more powerful method which is worth learning Step 1 Step 2 Step 3 Step 4 Select a track and move a clip under the cursor Press the Trim key if not already on Press the Head key and hold it down the head is extended to show the full extent of the original recording Jog or play the transport you can listen to the audio and choose the right position Page 110 EDITING January 8 2013 Step 5 Release the Head key the head is placed at your current position Limit to Trim When extending a clip the end of the recorded audio will be reached eventually After that it is not possible to extend the clip further Tail Same as Head but the later part of the clip is trimmed Clip Trim clip changes both ends of the clip at once Its purpose is to preserve the length of the clip but access an earlier part of the recorded audio Not commonly used Range Ranges cannot be used with Trim Multiple Tracks Works as expected All the red clips will be trimmed to the same point in time Soft Keys in Trim Mode Pressing the sync point soft key creates a sync marker within the selected clip s at the cursor position This is shown as a yellow mark in the clip and can be used to visually locate an important moment To change the sync point press sync point att
160. ditor is not quite ready for the mixer or vice versa If you find that a macro appears to be getting lost you may insert one or more delays of 100 ms Displaying Macros There are two different keys used for displaying macros They do almost exactly the same things e The macro picture button in the Editor Record Mixer and Setup megamodes e The macro fixed button in the upper right of the Evo surface Page 150 EDITING January 8 2013 Macro fixed button Either of these keys will toggle the macro trigger buttons on and off the Evo Tactile Controller Macro trigger buttons can be displayed in two possible places e On the Picture Keys default You can show one or three rows of macro keys e On the Numpad To set the display location for macro trigger buttons do the following Step 1 Hold down the BLUE key and press either of the macro buttons The Edit Macro layout is displayed on the Picture Keys Step 2 The macro location button cycles macro trigger buttons between three settings 1 row displays one row of macros on the picture keys with three buttons that switch the range from 1 10 11 20 and 21 30 3 rows displays all 30 macros on the picture keys Use keypad displays macros on the Numpad 9 at a time with three button that switch the range from 1 9 11 19 or 21 29 Note that macros 10 20 and 30 are not accessible via the numpad Step 3 Press either of the macro buttons tw
161. ds I leave that to your expertise Auditioning can start in the wrong place if you forgot to press new split or if you went back to a previous edit point If so jump back to the split point and press new split again This re establishes the audition point More commands There are some extra audition commands to get easy access to particular takes aud again simply jumps back and plays so you can hear the same take again You could achieve the same thing by jumping back pop aud brings the current selection from the Takes Window to the top of the stack and initiates audition So you can jog down the stack and simply press pop_aud to hear that take Background Recording The system can run a background recording that is independent of all other activities and transport modes This is described in detail in in its own chapter ADR Automation Dialog Replacement is described in its own chapter on Page 82 Page 81 ADR January 8 2013 ADR Introduction Evo provides the ability to automate recording using a list of In and Out points with a simple interface The ADR menu includes functions for setting pre and post roll and features for automatic dialogue replacement The ADR List The ADR List allows you to set up a list of recordings cues that you want to take Each one has a controlled In and Out point and text that can be displayed on the screen To open the ADR List Press the green Record Megamode button t
162. e This will toggle to the last non standard source you used or the first defined External Source set if you haven t used any yet To toggle to an alternative monitor format press Alt format This will toggle to the last non standard format you used if any Page 287 METERS January 8 2013 Meters Introduction Signal level metering is available in the various system video displays Master Screen Meters Evo provides a set of eight Master Screen Meters To toggle them on and off e Use the Panel ON OFF soft key in the Meters menu Setup Megamode e Use the Screen Meters button in the Setup Megamode e Click on the Mixer screen and type ctrl SHIFT Space These meters can be dragged by their Title Bar to any point on the Edit Screen or Mixer Screen or to a third video monitor if your system has one installed a Fairlight Digital Peak and RMS Meters al S15 a Pits lt a aL o aa oO oO i ure x Page 288 METERS January 8 2013 Choose Aux or K Rh Meter Set for 100 100 100 100 the 12 buttons above 100 100 100 100 Shows maximum value since meters opened Shows average value since meters opened 10 10 10 Selection of metering source for the Master Screen Meters e With aux selected click Main Sub Buses B1 B2 and Aux buses Al A2 to toggle them on or off the meters You can add any number of buses and the system will display meters for up to eight B
163. e That means any change to channel selection will add or remove a fader from the surface If Mixer Set is in Variable mode toggling the 0 in Fader Sets OFF will put it in Fixed mode This means it keeps the current selection of channels but does not respond to any further changes in selection This can be very useful for putting channels next to each other but only selecting the ones you want to edit Choosing a Fader Set even re asserting the one that is illuminated on the Numpad puts Mixer set in the Off state Meter Sets The system supports up to 9 meter sets each containing 8 mono audio sources The meters from these sets can be displayed in the on screen Master Meters and on the optional hardware meters For more details see the Meters chapter on page 288 To select a meter set Step 1 Go to the Setup Megamode by pressing the green Setup button Step 2 Press the Meters button Step 3 Press the Numpad number corresponding to the meter set you want Assigning meters to meter sets and general information about them is contained in the chapter on Meters starting page 288 Page 27 THE NUMPAD January 8 2013 Jump by Seconds The Jump commands move the transport to special destinations including marks and clips You can also use Jump with the Numpad keys to move by a number of seconds by a single frame or to an exact frame edge To jump by seconds Step 1 Hold down Jump Left to go backwards or Jump Right to
164. e increasing a fader level by 10dB will add 10dB to the previously recorded fader levels retaining all the relative changes in the previously recorded data In Trim mode the control continues to move as it follows the previously recorded data As soon as the control is touched it becomes stationary and any changes made to the control s position are written as offsets to the underlying data If the control is touched but not moved no changes are made If the control is moved then released when not in Touch Snap the system continues to playback the original moves at the offset or trimmed level If the system is in Touch Snap the system drops back into Read Isolate When mix items are Isolated the user can manually control them and the automation system does not affect them The controls have no illumination All mix items are effectively isolated until data is written for them When you turn Mix On to the off position all mix items are isolated To isolate Signal paths Step 1 Press the Iso button Step 2 Choose signal paths for isolation Note that all parameters on the isolated signal paths become isolated There is no way to pick specific parameters for isolation Preview Preview is a combination of isolation and enablement The mix items that are in preview are not controlled by the automation system so they respond manually to their controls But when the console enters automation record they all go into Write or Trim
165. e as the layout on the numeric keypad A graph helps you to see what is going on EQ In Out Use the EQ In Out Soft key to toggle the EQ on or off at any time This action will affect the clip under the cursor or all clips in the Range if any The on off position of this switch is stored in the clip along with the settings of the EQ parameters e While you are changing parameter values with the jogger wheel the actual sound is updated after a short delay e Turning the wheel faster increases the steps between values e There is no limit to the frequency Range for each band so you can have your low frequency higher than your high frequency if you want e When you are using a Range it is possible to change one or more bands for the entire Range while leaving other bands as they were So for example the clips might have different settings for LOW EQ but the same setting for HIGH EQ Saving EQ Settings The system allows you to save the current EQ settings and later retrieve and apply them To save an EQ setting do the following Step 1 Type a new name into the Presets field or use an old name if you want to change its settings Step 2 Set the EQ values to the ones you want to save by editing or simply by picking up the values by touching an existing clip Click the save button To retrieve an EQ setting select it from the Preset drop list It can then be applied immediately to the currently selected clip or range of clip
166. e bottom of the dialogue box Note Some programs eg Reason will launch automatically Others eg Ableton Live need to be launched manually Step 5 Open or create a project within your Rewire application demo projects that accompany the application are a good starting point Patching a Rewire Application Once your Rewire Application is launched it s time to patch Rewire inputs to track or live feeds Step 1 Open the Patch I O page by pressing the Patch I O key on the channel panel Step 2 Click on Instrument Inputs located on the left hand side of the Patch I O page You see inputs labeled according to the Rewire applications you have installed If you have installed more than one application click Page Down on the patch I O page until you find the input for your Rewire application Page 281 PLUG INS AND REWIRE January 8 2013 Step 3 Select the desired instrument input e g If using Reason select the inputs labeled Mix L and Mix R for a stereo mix Step 4 Select Track Live or other patch destinations located on the lower right hand side of the Patch T O page Step 5 Select destinations to patch in the upper right and click the Patch button to complete the patch Click on Patch to complete Select instrument P Select live inputs You should now be able to hear a stereo signal generated by your Rewire application on Live feeds 1 and 2 Alternatively you can patch instrument inputs to track feeds but
167. e named the clip while recording it The Track number is the one on which the audio was first recorded The GUID is a system number discussed below GUIDs Evo Broadcast WAV Files are named using GUIDs A GUID is a unique ID that makes it easy for the system to locate files in a database Since GUIDs are hard to read Fairlight has created the Fairlight Shell Extension for Windows Explorer The Fairlight Shell extension is installed by default and allows users to view hidden iXML metadata in the Fairlight Broadcast WAV Files The Project Name Clip Name and Frame Rate are embedded in each WAV file by Evo during recording and can be viewed with the Fairlight Shell Extension Using the Fairlight Windows Explorer Shell Extension 1 Open Windows Explorer 2 Under the View menu select Details 3 Right click a column header eg Name and select More from the popup 4 Scroll down to the bottom of the list and add the desired iXML columns eg Project you wish to view 5 Click Ok Localize Localizing audio means putting the files in the same folder as the Project file Any audio which is referenced out of other folders is copied into the Media folder for the current Project file as new WAV files Once a project is localized it is much easier to move it to another system or back it up because all the media is in one place To localize files in a DR2 project select the Localize command from the Process Menu
168. e parameter the parameter is set to the value recorded in the mix snapshot The current value for any parameter is determined in the following order 1 The parameter is set to the TO value of the most recent previous event or the current event if the transport is right on top of a data change 2 If no previous event exists the parameter is set to the FROM value of the next future event 3 If no future or previous event exists the parameter is set to the value recorded in the mix snapshot Touch Write Touch write is a super fast way to automate your mix When properly set up you can simply grab the controls you want to change and write the changes straight into the automation For a parameter to go into write when you touch it the following must be true The parameter must be enabled Use the Param Enable layout in the Mixer Megamode the Enab button on the ILP2 or an enable button on the ILP or Mixer screen The channel must be selected OR Touch Auto Enable must be on Channels can be selected using the channel buttons in the XCS panel when a Mixer menu is current e g mix menu Or pad lock The Touch Auto Enable button is found in the Mixer Megamode Parameters available for touch write are shown in the XCS Pad with a red triangle and the same on the ILP screen Latch and Snap Latch means that once you touch the control it stays in Write or Trim until the system goes back into Read Snap means that the para
169. e project but there is an easier way Note this can only be used during the session where the recording was made Once you close that project the references are gone To see a list of the media that was recorded in the current session and is now unreferenced use the mouse View Orphaned Media O Orphaned Media Path File Record Track Record Time Duratio FL_ Recco t Nay 1 00 0 00 00 07 18 D Fairlight4u FL_ Reccord Test 5_a5 GLTO9DL 5 00 05 27 26 B Fairlightau FL_ Reccord Test 4_a4 GLTO9DLYDDO0_B way 4 00 05 27 26 D FairlightAu FL_ Reccord Test 3_a3 GLTO9DLYDDQ_9 way 3 00 05 27 26 D FairlightAu FL_ Reccord Test 2_a2 GLTO9DLYDDO 2 00 05 27 26 D FairlightAU FL_ Reccord Test 1_a1 GLTO9DLYDDO_ 1 00 05 27 26 D FairlightAu FL_ Reccord Test 7_a2 GLTO9DLYDLO_F Nav 2 00 05 30 26 D Fairlightau FL_ Reccord Test 9_a4 GLTOSDLYDLO_H way 4 00 05 30 26 D FairlightAu FL_ Reccord Test 8_a3 GLTO9DLYDLO_G wa 3 00 05 30 26 D Fairlightau FL_ Reccord Test 10_85 GLTOSDLYDLO_J way 5 00 05 30 26 D FairlightAu Type a text string Click to sort the list Drag headings left here to only files by this parameter or right to re order whose names the display contain that string Page 331 PROJECT AND FILE MANAGEMENT January 8 2013 Type Guid ghtAUProjects New Project2 Media FL_ Reccord Test 6_41 GLTOSDLYDLO_D way audio ightAU Projects New Project2 Media FL_ Reccord Test S_a5 GLTOSDLYDDO_C way audio 00000000_000
170. e solo on any track Click a Mute button in the Editor Screen to toggle mute on any track Mute Solo Click a Solo button and drag up or down to solo lots of tracks Click a Mute button and drag up or down to mute lots of tracks Mixer Screen Click a Solo button in the Mixer Screen to toggle solo on any track Click a Mute button in the Mixer Screen to toggle mute on any track Page 47 CHANNELS January 8 2013 Track Track Trak Track Track i a 3 Solo ON OFF Mute ON OFF Track 21 Track 22 Track 23 1 I I Solo Safe When a channel is soloed it works by muting all the other unsoled channels Sometimes you want to prevent this e g when channels returning reverb or other signals that affect the sound of the current channel Solo safe means cannot be muted by soloing another channel Channels can be prevented from being soloed in four ways Page 48 CHANNELS January 8 2013 Using the Virtual Channel Solo safe Using the Pad Step 1 Press the Path button in the Editor or Mixer Megamode Step 2 Press it a second time to engage the PadLock menu Step 3 Press the Solo Safe soft key Using the In Line Panel Step 1 Enable the Path layout by pressing BLUE Pan Path Step 2 Hold down the art button Step 3 Press the safe button for the desired channel Solo Mute Swap Evo allows you to swap all your mutes for soloes or vice versa This is very useful in a complicated edit sessi
171. e system sets loop jog at a width of half a frame If you press i the system sets loop jog at a width of one frame If you press 2 the system sets loop jog at a width of two frames and so on up to 9 If you press the system sets loop jog and increases width by one frame If you press the system sets loop jog and decreases width by one frame The Jog Menu Jog behaviour can also be controlled as follows Step 1 Hold down Jog Step 2 Use soft keys to control behaviour e Loop on off toggles loop and linear jogging e Loop width can be setin milliseconds minimum 20 ms e Jog Gear changes gear ratio for linear jogging e Jog Dim allows the level to be dropped automatically in loop jog Page 31 CHANNELS January 8 2013 Channels Introduction Evo provides six types of channel e Video Tracks include record and playback capability plus basic editing e Audio Tracks include record and playback capability plus full editing and mixing e MIDI Tracks can record and edit MIDI parts e Live Feeds bring audio straight from an input to the mix with full processing e Buses the destination for mixing Include Main Sub Buses and Aux Buses e Group Masters also known as VCAs Video and MIDI tracks are described in their own chapters This chapter describes the behaviour of Audio Tracks Set Number of Tracks in Project The number of tracks refers to both Audio and MIDI tracks For a New Project When
172. e transport is already looping it will start again from the beginning of the loop To stop looping press any other transport button Hold down the loop button to display the Loop Menu options in the Pad and others on the picture keys Pre Postroll ON If you toggle this option on the loop will add the system preroll and postroll to its start and end points Note pre and postroll are set in the Sync menu in the Setup Megamode Clip Uses the clip under the cursor on the current Edit Track to set loop start and end points and starts looping around that Range Takes the current edit range which you have previously set using the From and To buttons and loops around it Note you can set the range while the Loop Menu is active Last Record Page 61 TRANSPORT January 8 2013 Uses the start and end of the last transport recording to set the loop start and end points and loops around it Enter Starts looping with the current loop start and end points and exits the menu Picture Key Commands The picture key options give you a set of ready made loop sizes in the upper row of buttons loop 2 3 Sets the loop start point 2 seconds back from the current transport position and the loop end point 3 seconds forward from it And starts looping etc The other picture key commands work similarly Special Transport Commands The Play Menu Play Menu displays special play commands on adjacent buttons and on the Soft keys Play Head P
173. e transport until it is underneath the play head then issue the command Edit Resync to Record Time This will place the clip at the time where it was originally recorded Waveform Profiles Dream II stores waveform profiles for all the media in your projects allowing it to display full screen waveforms at any zoom range The waveform profiles are extracted and stored in the background during and after any recording or import function or whenever a piece of media does not have a profile If a number of clips have no profiles selected ones are given preference during calculation and display After some time the number of profiles can get quite large and use a lot of space on your computer The system automatically deletes profiles if they have not been used for a certain number of days To control how many days use the command setup General Preferences Projects Page 324 PROJECT AND FILE MANAGEMENT January 8 2013 General Preferences Options Audiobase Playback Video Capture Projects Scrollers Audio Plugins Autosave Load Last Project on Startup D Profiles Delete Profile after 30 days The default is set at 90 days but you may change that to any time you like Revealing the Project File To display a Windows Explorer Window containing the currently loaded project use the command File gt Reveal Project File Backup Files Each time a DR2 file is saved an optional backup of the pr
174. e verification Another strategy is to use the Rescan button in the same dialog only when you have added or removed plug ins from the system Plug in Latency and Compensation Each plug in takes a certain amount of time to run and this effectively delays the audio in the track or live feed The delay time is called the latency of the plug in Latency has two components e AudioBridge latency which is the time taken to get the audio from the Crystal engine to the CPU where the plug ins are executed and back again This is unavoidable due to the VST specification requiring blocks of samples to be sent for processing e Processing time of the plug in which is how long it takes the CPU to process a block of samples This is reported by each manufacturer of VST plug ins Latency Compensation For Track Feeds containing plug ins the track playback is automatically advanced by the amount of the latency Note this is not possible for Live Feeds as they happen in slightly retarded real time When Buses contain plug ins the tracks feeding that bus are automatically advanced by the amount of the latency If a track is feeding more than one bus the amount by which the track is advanced is decided by a priority system Main Bus is highest then Sub Buses in numerical order then Aux buses With a track feeding more than one bus the timing will only be correct for the highest priority bus and others which happen to have the same latency
175. eaaa 174 BULA NG 2c os ccsee ct eas ec eence teresa arse 176 Introducti Or ceciren a ania 176 EE EEE TATT AA 176 Signal Processing Using the Pad 184 Multi Rel iieii ae sisiadcevaciivstoeaticoeeasatiaseacteed 187 Screen Mix COntrols ccccscecesseesseeeeaeeeeeeees 188 ZOOM PANEIS isi oieee iaaiiai ienris 202 Processing Order the Path Menu sassen 208 Pati CODY soera an annk O E aici 209 INSETS a eed etd a a a aiaa 209 Direct OUPU S wsccccseseetcceitedecevereeeectieedceeeenees 210 Oscillator geen 210 Noise Generator cccceeccseeseesseeeeeeeaeeeseees 211 paderepe aaea aaiae 211 The library ianiai aeaieie aiie 220 THE IN LINE PANEL ILP2 224 Introduction s ssesssessssrresrrnsrrnnrrnnnenrnnnrensrnnn 224 Panel Controls s sssssssssessressrrnrrnnrrnnrrnrrrsnnns 227 Path ControlS sssssssssssssrssernsrrrerrrnrrrerrennne 231 Fgualiser ee 232 The Surround Panne sssssssssssssseserrssrrserennens 233 DYNAMICS soise aiena atean iaa 235 Auxiliary SendS ssassssssssssnsssnnnnnnnnnnnnnnnnnnnnnn 237 AUTOMATION cc0sccssssesssssssncccsecneees 238 INO UCH ON E isc eeaddags TETTE 238 Automation BaSICS ccccceccseeeeeeeeeeeeeaeenees 238 How to Use Automation ccccsccsseesseeseeeaees 239 Enabling Mix Items csceceeesseeeeeeeeeeeeeaes 242 Mix Item Status cccceeccseesseesseeseeeeeaeeeaeees 243 Pouch Write saine cincinnati 247 Programmed Automation n se 247 Saving and Lo
176. ect tape from the desired device Note that controls will only appear if they are relevant to the selected device type Config Click the Config button to set transport ballistics for the different machine types TC Master When a machine M1 or M2 with this setting is placed on line it means that Evo will control the transport of a 9 pin machine but will chase the position of that machine in all transport modes In this case the Config Window looks like this Page 344 SYNC AND MACHINE CONTROL January 8 2013 DYW ASOO P 00 00 30 00 Tracting Algerithia olay chase Power Afis H Y On 10 minutes Locate Method Select between Cue Only operates only in Cue mode or Unlace unlaces a tape machine and puts it in Fast Forward or Rewind when the locate distance more than the number in the Lace Window This allows for faster locates for video tape recorders Lace Window Causes the machine to unlace if it is given a locate command outside the range of this window Unlacing allows the machine to travel faster and reduces head wear Tracking Algorithm Determines how the machine performs when searching for timecode Each machine may perform better with either choice of algorithm Bi Directional Control When switched on allows either the Master or the Slave to instigate transport commands e g Play Stop etc Page 345 SYNC AND MACHINE CONTROL January 8 2013 Edit Delay frames Each VTR has a built in d
177. ected In addition the clips can be mouse dragged individually or in ranges and edited with QWERTY shortcuts in the same way as audio clips Each copy of an original MIDI recording is independent so if MIDI Note Editing See below is used on one of them the other one will not change MIDI clips cannot be pasted on to audio tracks or the video track nor vice versa Names can be added to the MIDI clips then changed if desired using either the Name Clip command from the Evo Editor Megamode or the Rename command in the screen Edit menu MIDI Note Editing The system will only note edit MIDI clips containing a single MIDI channel If you have recorded or imported notes from multiple MIDI channels into one clip you can separate them using the command MIDI gt Separate MIDI Notes by Channel The system creates one clip for each channel and places them on the tracks below the selected one For this to work there must be sufficient MIDI tracks to take all the clips MIDI clips can be edited in detail using MIDI Edit MIDI Notes Another way to do this is view Smart Pane MIDI Events then click the Edit Events button Either way one MIDI clip at a time can be edited the one on the current track blue name and blue tab at left under the cursor the clip must be red MIDI Note Editing opens a piano roll editor where each MIDI event note ON note OFF is shown as a clip like object Only mouse editing is available in this windo
178. ects only fades at the head and tail affects only fades at the tail Presets Presets are used to save fade shapes only not lengths The system provides a number of Fade Presets and you can also save your own Custom presets To recall a system preset Step 1 Press the Preset soft key then press keys 1 9 on the numeric keypad to choose one of the 9 factory fade presets Step 2 To apply the recalled shape to a clip turn off the length soft key and press the fade head fade tail or fade clip key depending which part s you wish to apply To recall a custom preset Step 1 Press the Preset soft key then press the custom preset soft key then use the Jog Wheel to scroll through the list of custom presets Each of the custom presets if any exist will be shown in turn and its shape displayed in the Fade panel Stop scrolling when you have loaded the preset you want To save the current shape to a new custom preset Step 1 Press the Preset soft key then press the save preset soft key Step 2 Type a name for the new custom preset then press the Enter key To change the shape stored in a custom preset Step 1 Recall the custom preset as described above Step 2 Adjust the shape at the head or tail of the clip or capture new ones from a clip Step 3 Press the Preset soft key then press the save preset soft key Step 4 Now immediately press the Enter key to save the current values over the selected preset This will overwrite t
179. ed in this chapter to mean Write or Trim The Mix Item A mix item is one parameter for one signal path Examples are Track 47 Main Bus Fader Level Live 11 EQ Band 1 Q factor Sub Bus 2 Mute There are literally thousands of mix items in the Evo system The automation system can write the changing values or states of every mix item over the duration of your project and read it starting at any position These written values and states are called mix automation data Mix ON When the Mix on key is OFF all mixing and routing functions are manually operated and the mixer will not write or read automation When the Mix on key is ON all mix items for which automation data is written will read that data and the user has no manual control of them Mix items with no written automation data can be manually controlled by the user Page 238 AUTOMATION January 8 2013 Mix Duration The automation data for a project starts at a timecode location one frame after timecode midnight and finishes one frame before midnight However the system requires a minimum preroll of at least one second and it is advisable to start projects at a location of at least one minute after midnight to provide adequate preroll Static Snapshots Project Snapshot Every project contains a snapshot of the state of the mixer when the project was last closed When a project is opened the mixer state is updated and all parameters are recalled Mix Snap
180. ed is removed from the track and either e Everything afterwards trailing clips move earlier or e Everything before leading clips move later When you paste audio the time it occupies is inserted into the track and either e Everything afterwards trailing clips move later or e Everything before leading clips move earlier Control of the direction for razor cutting is ina special soft key menu that appears in the Pad only while you hold down the Razor button Choose leading clips Of trailing clips Razor editing always uses a range Get Ready Press the green Editor button Press the cut button to access the Cut menu Operation Locate the transport so that the cursor crosses the middle of at least one clip Identify the track containing that clip and double press its button to make it the only selected track If necessary use the Bank key Page 100 EDITING January 8 2013 Create a range within the clip using from and to Press the Razor button to highlight it Press cut range The width of the range is cut out of the track like a piece of tape and downstream clips move forwards The cursor splits into two pieces showing the range that will be added to the timeline on selected tracks if you paste the clipboard Move inside another clip and press Enter The clipboard is pasted and the time it occupies is inserted into the track like splicing tape Investigate cut head and cut tail use undo in betwee
181. edded Track M BWAY M MxF Mpeg Quicktime Place Files at Embedded Timecode Some audio files carry a timecode with them Checking this option for a particular file type causes it to be placed at that timecode no matter where you drag it with the mouse Place Files on Embedded Track Some audio files carry a track number with them Checking this option for a particular file type causes it to be placed on that track no matter where you drag it with the mouse Importing Multiple Sound Files If you select multiple files in the Windows Explorer or My Computer dialog you can drag and drop them all to the timeline By default the files will be placed head to tail along the track where you drag them If you hold down the ctri key while dragging the files they will be placed on successive tracks at the same timecode point Individual Localisation Individual clips can be localised as follows Step 1 Select a range of clips on one or more tracks Step 2 Hold down the BLUE key and press ENTER Sample Rate Conversion Sometimes the files you import are at a different sample rate than the project When this happens Dream II automatically turns on real time sample rate conversion to ensure the audio has the same pitch and duration as the original Clips subject to sample rate conversion are marked with a black sp label The quality of sample rate conversion may be varied using the dialog Setup gt General Preferences gt Ge
182. eferences Options Themes Step 3 Choose one of the themes from the list The Solo and Evo themes are dark grey while the Classic theme is light grey blue and white It is possible to build your own theme If you wish to do this contact Fairlight in Australia Page 10 SELECTION AND CALLING January 8 2013 Selection and Calling Selection Types There are four kinds of selection in the Dream system Edit Selection One or more tracks When a track is selected for editing it becomes a target for editing commands like cut clip and fade head Mix Selection One or more Tracks Lives and or Buses collectively known as paths or channels When a path is selected for mixing it becomes a target for mixing automation commands like IN and OUT and is available for Touch Write Current Track One track only the last one that was selected for Editing It becomes the target for some special edit commands that can be performed on only one track Called Channel One path i e Track Live Bus Group or Monitors Also known as the Current Channel The Current Channel is the target of all signal processing commands like changes in panning and EQ It appears in the Evo Pad and the ILP Channel layout if fitted How to Select Edit To select for editing do one of the following e Press a Evo track button in the Editor Megamode e Click a track number in the Editing Screen e Click in the body of a
183. el right click anywhere inside it e While itis open you may move to the next or previous channel by clicking the and buttons next to the channel name Click to select next or previous channel Page 197 MIXING January 8 2013 Input Section DREAM II 48 V and Mic Control Used for Fairlight Mic preamps Recording Section Available only when a track is the current channel Arm means ready to record press this button only if there is an audio source patched to the current track Thru means the track will monitor its input but will not respond to a record command The Thru state makes the track equivalent to a Live Feed Press the Thru button only if there is an audio source patched to the current track Rec Level controls the level going to the Disk before recording It does not affect the track when in Thru mode Trim controls the level as the channel enters the mixer For tracks this is after coming back from Disk and does not affect level being recorded Phase flips the audio phase at the input to the mixer It does not affect the signal being recorded on a track Direct Send and Insert irtual Channel Direct In toggles the Direct Output on and off Pre toggles the Direct Output pre and post the main channel fader Level controls the level going from the channel to the Direct Output Note Direct outputs are only heard if patched to a physical output or to the input of another path This is done
184. elay between receiving the Edit command equivalent to a pre programmed Record command and actually entering the Edit mode If you the Edit Delay to match the machine s behaviour Evo will issue the Edit command early so that the VTR enters Edit at the right time Confidence Head Switches the video machine s Confidence Head on or off Stop Command Allows the option of keeping the VTR tape on the heads when the machine stops This will allow it to start playing much quicker but it does increase head wear Head Protect Specifies a time after which the tape is removed from the heads automatically to prevent wear Play Tracking Determines how many incorrect frames the system must see before it jumps to be in sync with the incoming timecode or stops if no timecode is coming in This allows the system to keep playing over timecode that has gaps Record Tracking As with Play Tracking but recording uses a different number This is because recording sometimes needs to be more tolerant Note that if timecode sync is lost during recording then re established the transport will go back into Play but not into Record Run Lock If the Play Run Lock checkbox is ticked the system will continue to play after first achieving lock to timecode no matter what the timecode does The lower Run Lock checkbox provides the same option when recording Locate Method Cue Only k Lace Window 00 00 29 29 Tracking Algorithm jog Power h
185. elect the track Step 2 Press the Insert Config button in the Setup or Mixer Megamode Step3 Press the Add Plugin soft key The LCD screen between the soft keys will now display the first of a list of plug ins that you have installed Page 269 PLUG INS AND REWIRE January 8 2013 Step 4 Using the jog wheel scroll through the list of plug ins Step 5 When the desired plug in is displayed press the add soft key The plug in popup will now appear on the Editor display where the mouse can be used to change its parameters Step 6 Press the Plug ins button to toggle the plug in popup and fleximap on off Step 7 To remove the plug in press the Remove Plugin soft key on the LCD screen Automation of Plug ins Enabling Plug in parameters for automation is described on page 243 Controlling Plug ins on Screen Each Plug in comes with a graphical user interface GUI designed by its manufacturer To display the GUI do one of the following e Press the Plug ins button in the Mixer Megamode This will display the current plug in for the current channel e Double click a Plug in in the Evo Mixer Screen Channel Double click Click to bypass l all plug ins Plug in GUI controls Each plug in GUI is contained in a window including a close box and several icons Track 1 Insert 1 FLOORFISH init amp Close Button FLOORFISH expander noise gate_ Lock f listen e 7 tereo detect Freq Insert Bypass Plug in Order Plu
186. elected tracks at the current timecode If you want to paste the mix data at a different timecode simply locate there Note Another great way to do this if you want to copy audio as well as mix data is to use the Copy Project Segment command which is described on page 256 This depends on having the correct automation file loaded into the Library project Automation on Screen The controls in the upper left of the screen correspond with controls in the menus and on the console surface The Automation Enable checkbox is equivalent to the Mix On button Page 257 AUTOMATION January 8 2013 On Screen Automation Controls Pan in TRIM Pan in READ Pan in WRITE Track Track Track Track Track Track Track 8 3 10 11 12 13 Fader in WRITE Fader in TRIM Fader in READ The controls in the lower right of the screen correspond with controls in the menus and on the Evo picture keys The Mix On checkbox is equivalent to the mix On button Automation Curves Automation data for tracks can be shown on the Edit Screen using the following command sequence View gt Smart Pane Automation or by pressing the Auto Curves soft key in the Mix Menu Click to toggle Click to remove Pull down menu Preset controls Edit Controls automation automation of automation graphs on or off display display parameter parameter To display automation curves on one or more tracks Step 1 Select the tracks where the automation is to be displ
187. elete soft key in the LCD menu to delete the selected mix Creating a New Mix Follow these steps to create new empty mix with no automation data Step 1 Press the File button Step 2 Press the New Mix soft key in the LCD menu This new mix must be saved once new data has been written Copy a Mix Between Projects Mix Carry Over allows the static snapshot and dynamic mix data from a single mix to be copied from one project to another Step 1 Step 1 Press the File button and use the Save or Load soft key to save your current mix or load a previously saved mix Step 2 Press the Carry over soft key in the File menu The Carry over key flashes when carry over is active Step 3 Close the current project Step 4 Open the destination project Step 5 Hold down a BLUE key and press File key and use the Save soft key to save the mix in the new project Mix Undo The automation system supports multiple levels of mix undo These are interleaved with audio edits making a single undo list for the whole project To undo the last edit press Undo This can be done as many times as you like right back to the first edit since the project was opened To redo the last undone edit press redo This can be done as many times as you like right back to the first edit that was undone To work with a list of the undo steps available do the following Step 1 Hold down the BLUE key and press the Undo button OR hold down the undo button A dialog box
188. els are 44 102 and 126 1 gt 44 5 gt 102 6 gt 126 e If there are more destination channels than source channels we cycle again from the beginning of the source channels For example if the source channels are 5 8 and the destination channels are 44 56 77 and 78 5 gt 44 8 gt 56 52 gt 77 8 gt 78 e The source channels and destination channels can be of different types For example you can copy from a Track to a Bus or a Group to a Live In some cases the data cannot be pasted e g Lives can have an expander gate but Buses cannot e Timecode offsets may be used The amount by which the transport has moved in between copying and pasting is used as the offset The play head or cursor is used as the sync point for copying and pasting just as it is for clips e Plug in data may be copied If a plug in is pasted to a channel where it is not instantiated the software will do so automatically Page 252 AUTOMATION January 8 2013 Jog Mix Allows automation to be read and written in transport modes other than play For example in Jog mode the system will update the numerical readouts of the automation data faders will move up and down and the audio levels mutes pans etc will update If you jog too fast the system will get behind but it catches up when you slow down or stop Until now automation could only be written in Play Mode Now it can be written in any forwards transport mode To do this toggle the Jog
189. ep 2 Press the desired Track Display key You can also select the desired track view in the onscreen View Menu Tracks Submenu r ra A method using the Jog Wheel is provided as follows Step 1 Hold down the ctrl or BLUE key and the zoom key Step 2 Turn the Jog Wheel The number of tracks will change always keeping the most recently selected track visible Using Jog Wheel Hold down the ctri key and turn the Jog Wheel to change the number of tracks on the Edit Screen Using Mouse Wheel Hold down the ctri key and turn the Mouse Wheel to change the number of tracks on the Edit Screen Centered Track Display A further option for track display automatically places the current track most recently selected in the vertical center of the Edit screen with the chosen number of tracks distributed above and below Page 33 CHANNELS January 8 2013 To adopt this option select the checkbox at Setup gt General Preferences Display Centers on current track User Selection of Tracks In addition to the track selections described above you can display any number and selection of tracks including discontiguous numbers There are three User Sets labelled U1 U2 and U3 which can be set and recalled at any time To create a User Set Step 1 Hold down the BLUE key Step 2 Press the 3 6 or 9 key and hold it down Step 3 Select the tracks that you want in this set Deselect tracks that you do not want in this set Step 4 Release t
190. equency High mid frequency for the channel Lo Mid Gain Lo mid gain for the channel Lo Mid Frequency Lo mid frequency for the channel Lo Gain Low frequency gain for the channel EQ In Out The switch at the bottom of the strip is EQ In Out EQ Flat To quickly set an individual band to flat hold down an ALT key and press the band rn key to set the gain to OcB To set the whole EQ section to flat hold down a ALT key and press the EQ Mode button Filter The Gain control controls the gain of shelving filters with a range of 18dB The slope of hi or lo pass filters are fixed at 12dB octave The actual gain and slope values are displayed on the fat channel at the bottom of the mixer video display Gain controls include an IN OUT switch for the specific filter The Freq control of the filters provides the following ranges of control hi pass 20Hz 1 50kHz lo pass 3kHz 18kHz Page 232 THE IN LINE PANEL ILP2 January 8 2013 The Surround Panner The In Line Panel provides controls for a comprehensive surround panning system The panner automatically configures itself for control of signals within all the supported surround formats In addition to simple two dimensional panning of a mono signal the surround panner provides advanced control of multichannel signal paths contained in link groups The supported surround formats are Stereo LCRS LCRSS 5 1 6 1 and 7 1 For mono signal paths the pan control is a s
191. er point IV Digital VU meters Launch on screen meters at Bootup Iv aoe Mixer Requires Restart EG Gn Busses MADI Channels 56 64 IV Show 3D Panner Step 2 Select the 3D Panner checkbox Page 206 MIXING January 8 2013 Step 3 Close the System Variables dialog The Video button toggles the Pan Theatre Having enabled it here open the Pyxis Window to use the Pan Theatre The Pan Theatre The Pan Theatre offers a combination of the 3D panner with the Pyxis window as shown below A OE ip hl i X TARA We ee This allows you to adjust surround panning directly in front of the pictures You can use the mouse to move the yellow or red balls or use the regular panning controls and joystick Page 207 MIXING January 8 2013 The Aux Panel Track 21 Processing Order the Path Menu Overview The Path Menu allows you to change the order of the Equaliser Dynamics and Insert Point in any Track or Live Feed To use this Step 1 Press the green Mixer button Step 2 Press the Path Copy button Step 1 Hold down the Mode button Step 2 Press the Path Order button It is also available in the Mixer Megamode Step 3 Select the source path Step 4 Press one of the soft keys to set the processing order The FMC2 screen changes to show the order Page 208 MIXING January 8 2013 Path Order I gt E gt D Path Order D gt E gt I Path Order D gt I gt E Path Copy Overview Path Copy all
192. ere there is no clip and drag an area on the Track display and a range will be created The tracks that you touch while dragging will be selected and all other tracks deselected If you need to make a range where clips are present hold down the ctrl and shift buttons while draggingr This will prevent clips being relocated To remove the current range click but don t drag empty space in the track area This will also make WEE that track the sole selection You can also toggle the range using the keyboard shortcut x You can make or extend the range to exactly include a clip by holding down ctri and clicking the clip The Range Panel Sets the Range In point at the current timecode position Sets the Range Out point at the current timecode position Toggles the range on and off Page 139 EDITING January 8 2013 The Range panel in the upper left of the Edit Screen can be used to set precise range in and out points Move the transport to a time where you want the Range In point to be then click the From button or keyboard shortcut Move the transport to a time where you want the Range Out point to be then click the To button or keyboard shortcut t Click the Range button to toggle the range on and off or keyboard shortcut x Selecting Clips not Clips cannot be selected as such with the mouse They can be edited using their 7 points as described below included in a range with other clip
193. erver in Setup General Preferences Example http 192 168 1 100 AudioBase MFX search_d2 php Where 192 168 2 100 is the IP Address of your MediaLink2 Server Search For fer Clip Name T283 Categol Type jar User 1 fC O User Sample Rate 0 tts User 3 as User Results 67 Preview Description Auto crash car approac From trac File Nan Scat ee ae Al lt ad j ie a ie 26h AS 2 Bh LARS Be r e Entering text in the Search For field causes the software to look in all the relevant fields Entering text in the more specific fields at the right like Clip Name and Description confines the search to the fields you have specified The Search For field takes precedence if you have entered text in both places e The AudioBase3 results pane can be displayed underneath the Pyxis Track allowing easy placement of sounds to picture e Wildcards can be used to aid searches These include the following o stands for one or more characters e g dog means anything starting with dog o stands for one character e g dog means starts with dog and contains one more character o amp means AND e g dog amp cat means contains dog and also contains cat mm o means OR e g dog cat means contains dog or contains cat Clip Search Clip Search is useful for handling clips in your current project your attached library project your project Bin and
194. es of audio used in the 111 command overlap To use the i11 function Step 1 Copy or Cut the desired audio to the clipboard The cursor s sync point will be maintained Step 2 Create a Range encompassing the area to be filled Step 3 Press the i11 soft key Razor Soft Key Functions When razor is ON the soft keys menu change The filled audio is inserted into the track not written over the original audio in the range insert fill The backwards forwards filled audio is inserted into the track not insert b f fill o n written over the original audio in the range overlap Controls the length of overlap between pieces of audio used in the 111 command Silence will be inserted from the start of a Range for the duration of the insert space Range Paste Special Instead of pasting the clipboard contents at the cursor position it is possible to paste characteristics of a clip into other clips Step 1 Copy some clips to the clipboard using the Copy menu the mouse or the keyboard shortcut ctrl c Step 2 Select the destination clips for the paste They can be on multiple tracks and may use a range You may select All Layers or only the top layer Step 3 On the Cut Menu Copy Menu or Erase Menu press the Paste Special Soft key Now choose from the alternatives shown on the other soft keys Pressing one of these executes the Paste immediately Step 3a Alternatively click and hold the screen command Edit
195. essing Zoom you can now release Shift and select scrollers on the track keys No more than two tracks may be selected Solo and Mute Evo has a number of ways to solo and mute Briefly here they are Page 46 CHANNELS January 8 2013 Xynergi Surface Press the Solo button in the Editor or Mixer Megamode to toggle solo on the current path Hold down the solo button in the Editor or Mixer Megamode for a couple of seconds It will display 24 paths that you can choose while the button is held down then released to go back to your current menu While it is held down you can bank up and down to access other paths Release solo without choosing a path to display the Solo Menu with 48 signal paths that you can select after releasing Solo Press ctrl1 Solo button in the Editor or Mixer Megamode to toggle the whole selection of soloed signal paths on and off The A11 Solo button does the same thing Press the Mute button in the Editor or Mixer Megamode to toggle mute on the current path Hold down the Mute button in the Editor or Mixer Megamode for a couple of seconds to display the Mute Menu with 48 signal paths that you can select after releasing Mute Press ctrl Mute button in the Editor or Mixer Megamode to toggle the whole selection of muted signal paths on and off After pressing SEL you can select Solo or Mute to display the Solo Menu and Mute Menu mentioned above Editor Screen Click a Solo button in the Editor Screen to toggl
196. evious saved version can be made This will only happen if your system is set up correctly To enable backup saving issue the command Setup gt General Preferences and go to the Projects tab General Preferences x Options Audiobase Playback Video Capture Projects Audio Plugins Number of Backups 5 Autosave z Load Last Project on Startup D Set the number of backups you would like to keep The system default is 5 which means the 5 most recent saved versions of your file will be retained Automatic File Saving Automatic File Saving allows you to save your project automatically at regular time intervals To set this up issue the command Setup General Preferences and go to the Projects tab Page 325 PROJECT AND FILE MANAGEMENT January 8 2013 General Preferences xj Options Audiobase Playback Video Capture Projects Audio Plugins Number of Backups 5 Autosave hs Load Last Project on Startup T Set the desired interval for Auto Save or turn it off Note When the time for an Auto Save arrives it will wait until the transport is stationary then take control of the system While saving it will prevent the transport from starting and mute all audio at the outputs This is necessary to prevent unwanted interaction with the automation system Undo Files Evo allows unlimited UNDOs for audio editing It does this by storing a copy of the Edit list each time an edit is made
197. ew Clip Search In the Clip Search dialog there is a checkbox for each open Clipstores When this is checked the dialog shows all the clips in the selected Clipstores which can be auditioned previewed and pasted in the normal way Group Clips can be auditioned and pasted as well This allows the possibility of collecting complex effects into the Clipstore and reusing them at any time Page 163 AUDIOBASE CLIP SEARCH CLIPSTORES January 8 2013 Preview from Windows Explorer Audio files can be previewed directly from Windows Explorer To do this click File gt Import Audio File s This allows you to open up a custom Explorer window allowing Preview Auto Preview click and hear and Audition of individual audio files on the Windows file path You can then either drag drop multiple files directly to the timeline select Paste to place the selected media at the playhead or select Import to place the media at the playhead and exit the dialog This is only available in Windows 7 gt Comper gt Meda M gt WAVE gt Organize v New folder z T BBD Desktop s Name 5 Title Contributing artists Album ih Downloads J Jan 2012 Recent Places adr wav z Cybernetic wav Ca Librari BI brases SWISH 02 Bamboo f Le Documents mr i 2 SWISH 03 Bamboo ad Music _ Pictures 7 E Videos a Homegroup jE Computer amp Local Disk C ca Media M S2 This Year fs05 E rr mnanrr 7 Au
198. fader set the mapping layout in Evo will exit Page 219 MIXING January 8 2013 Mapping Multiple Faders A range of feeds may be mapped to a range of faders Step 1 Press the Map key Step 2 Press the cau key of the first fader in the range Step 3 Hold down the first selection key in the range and double press the last selection key The paths selected will replace the paths previously assigned to the sequence of faders starting with the fader selected Mapping Link Groups If a member of a link group is selected to map to a fader only the link group master is assigned If a link group is included in a range the group takes up only one fader Inserting and Deleting Faders When the Map key is pressed the map menu is displayed in the LCD Press the Insert key to insert a path at the current fader position Press the Delete key to delete the current path from the fader set Press the Blank key to leave the current fader un mapped Holding Faders To temporarily retain a selection of channels in their current fader positions when recalling a new fader set simply touch and hold the faders while pressing a fader set key The existing channels will temporarily replace those in the new fader set Press the fader set key without holding a fader to resume the normal fader set Mapping on the Evo Center Section Step 1 Select the Setup Megamode Step 2 Press the Map Faders button Step 3 The car key on the first fader will flash to ind
199. fault setup of the Evo on power up You may overwrite this file with any setup that suits your requirements Saving a Preset Follow these steps to save a preset Step 1 Step 2 Step 3 Step 6 Press the Lib key to display the library menu and screen page Click the chan EQ chan dyn all chan Or all console screen button to select the type of preset you wish to save Press the Save screen button and type a new name for the library preset The previously entered name is displayed by default To remove it press the DEL button Press Enter to save the preset or press the Cancel soft key to cancel the operation Loading a Preset Follow these steps to load a preset Step 1 Step 2 Step 3 Step 4 Step 5 Press the Lib key to display the library menu and screen page Press the chan EQ chan dyn all chan Of all console soft key or click the corresponding screen button to select the type of preset you wish to load On the screen click the preset you wish to load Select the destination signal path s Click the Apply button If you choose an all console preset it doesn t matter which signal path is selected because the whole console will be loaded Deleting a Preset Unwanted library presets can be deleted by following these steps Step 1 Step 2 Press the Lib key to display the library menu Press the chan EQ chan dyn all chan Of all console soft key to select the type of preset Page 222 MIXING Jan
200. follow the instructions carefully The naming file is called I O Config txt and can be found in the following folder For Windows XP C Program Files Fairlight FMC Data For Windows 7 C ProgramData Fairlight FMC Data Page 52 CHANNELS January 8 2013 It contains information other than names and this should not be disturbed The instructions for naming are contained in the file itself which can be opened and edited with any text editing application System Ports System output ports can only be accessed from the Monitor Setup Patch Outputs menu Using system ports for control room monitors prevents the operator from inadvertently patching signals direct to the power amplifier inputs To define a system port enter an attribute value of 1 as described in the I O Config file Naming Paths The Name Path command allows you to name Tracks Live Feeds Buses and VCA Masters When you are choosing a name it is advisable to use no more than two words of five characters each including numbers If you do the complete name will be displayed on the Evo picture keys making it easier for you to choose signal paths If you use more than one space character the first one becomes a breaking space and the others are put on the second line Choose Path to Name Select the first signal path you want to name This could be visible in the top row of the picture keys or you may be able to access it using the Bank up and down keys Otherwise it
201. for duplicate and edit it to read 5 1 SMPTE The SMPTE 5 1 format requires a different element order from the factory 5 1 format based on Dolby Step 6 Click on the Centre Element Page 180 MIXING January 8 2013 Bus Elements Element Name Short LR FB DU Left L 100 100 0 Right R 100 100 0 Centre C 0 100 0 Surround Left Ls 100 100 0 Surround Right Rs 100 100 0 Boom B 0 100 0 Reset Save Step 7 Click the Down button until the Centre element is in the correct position below Right Step 8 In the same way move the Boom element to its correct position below Centre Step 9 Click Save When you restart the Evo software the new Bus Format will appear in the Bus Format dialog and the Xynergi Bus Format Pad Menu Note The DU Down Up parameter cannot be altered unless you have purchased a 3D licence from Fairlight Bus Assign Overview Assigning a path to a bus means sending it to that mix destination Every path in the system has separate assignment to Main and each Sub Bus meaning that you can choose which paths go to which buses Bus to bus assignment is limited Sub Buses and Aux Buses can be assigned to the Main Bus but not to each other Main and MT Buses cannot be assigned to any other bus The Bus Assign screen is designed to assign multiple paths to one bus If you wish to do it the other way around one path to multiple buses use the Path layout in the Pad This
202. forward then release This is a faster way of doing the same thing Page 93 EDITING January 8 2013 Press the Sync Point soft key Now when you Jog and press Enter the audio inside the clip is slipped Editing on Multiple Tracks Overview Most editing operations work on multiple tracks at the same time All the red clips or parts of clips are affected This guide will show you how to select tracks Get Ready Press the green Editor button Operation The picture keys display 12 tracks while the Editor Megamode is active Press a Track button to toggle it in and out of the Track Selection Use Bank Up and Bank Down to access blocks of 12 tracks To select just one track double press its button To select a range of Tracks hold one Track button down and double press another To slide the current track selection up and down hold the Track Up Down button and turn the Jog Wheel To move the current track selection to a specific starting track hold the Track Up Down button and type a number on the Numpad then release Track Up Down For a wider track selection press SEL Sel Operation In SEL mode the picture keys display 48 tracks Use Bank Up and Bank Down to access another block of 48 You have the same selection methods e g using double press as in the normal Edit Megamode SEL mode has two ways of working momentary or latched For latched mode press and release sEL Make your selection of tracks then press
203. g in Name Close Channel Name Clicking the Close button makes the Plug in window disappear but does not unload it Page 270 PLUG INS AND REWIRE January 8 2013 You will continue to hear its effect After closing the plug in window it can be restored to the screen by pressing another Pad Mode button Path EQ Dyn or Aux and then pressing the Plug in button again or by double clicking that plug in name in the Evo Mixer Screen screen Lock Clicking the Lock icon prevents that window from disappearing it will continue to display that Plug in for that channel regardless of other selections you make until you unlock it then close or delete it Insert Bypass By default Plug ins are inserted in the channel where you instantiated load them By clicking the Insert Bypass icon you can bypass a specific plug in Note that other plug ins in the channel will remain inserted To bypass all plug ins use the channel Insert control which can be found in the Path Pad layout press the Path button in the Mixer Megamode it may need two presses before displaying the Insert button in the upper row of soft keys Plug in Order If more than one plug in is inserted into a channel you can change the order in which they process the audio To do this press the Plug in Order icon The following window is displayed Track 1 Insert x Insert Bypass p Ts p oT Close Use the mouse to select one of the pl
204. g the Evo pad are in a subfolder called Evo while those addressing Fader strips are in the root of the Fleximaps folder A Fleximap file is a text file with an extension fsm or FSM Fleximap Format Fleximaps contain a number of sections Part of a Fleximap from an imaginary plug in called ANYPLUG_01 is shown below a Header containing VST ANYPLUG_01 fsm plug in name and ip sctunaieneancciactesvaudaseeeceucss cuausseaadautdan de ecteessee ee pre amble VERSION 1 BEGIN_Evo FADERSET CONTROL XP_MAIN 3 0 00 1 00 LIN VST ANYPLUG_01 saturation saturation CONTROL XP_MAIN 5 0 00 1 00 LIN VST ANYPLUG_O1 lo cut freq lo cut freq i faderset is a page of CONTROL XP_MAIN 6 0 00 1 00 LIN VST ANYPLUG_01 sat emph freq sat emph fre Pad controls CONTROL XP_MAIN 7 0 00 1 00 LIN VST ANYPLUG_0O1 opto memory opto memory Each CONTROL Fadersets Each CONTROL XP_MAIN 8 0 00 1 00 LIN VST ANYPLUG_01 output output Statement must CONTROL XP_SECONDARY 1 0 00 1 00 SWITCH VST ANYPLUG_01 bypass Bypass match the control CONTROL XP_SECONDARY 2 0 00 1 00 LIN VST ANYPLUG_O1 dynamic sat Dyn Satur name which includes CONTROL XP_SECONDARY 3 0 00 1 00 SWITCH VST ANYPLUG_Ol air air the plug in name in CONTROL XP_SECONDARY 4 0 00 1 00 LIN VST ANYPLUG_O1 air level air level the header This is a CONTROL XP_SECONDARY 5 0 00 1 00 SWITCH VST ANYPLUG_O1 bass cut bass cut Common source of CONTROL XP_SECONDARY 7 0 00 1 00 SWITCH VST AN
205. g the all read button The enabled signal paths and parameters remain enabled so you can enter automation record again at any time by pressing the In key Using Touch Snap Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Press the Touch button until Snap is illuminated Enable parameter s see Enable Parameters below Select signal paths see Select Signal Paths below Press Play to move transport Touch and move the control of any enabled mix item it enters record and starts writing automation Release the control it leaves record The mix items that will be recorded are only those you have touched and only while you were touching them Notes e Only enabled mix items can be written by this method See Touch Auto Enable below for a more powerful version Using Touch Latch This is the same as Touch Snap except once a control is touched it stays in record even after you release it Use Stop or other standard methods to exit all recording or press Auto to take the current signal path out of record Using Touch Auto Enable In this mode you enable parameters but not signal paths Touching the control of any enabled parameter will do it automatically Step 1 Step 2 Step 3 Step 4 Step 5 Press the Touch button until Snap or Latch is illuminated Enable parameter s see Enable Parameters below Press the Mix Menu button to open the Mix menu and toggle the Touch AutoEn butt
206. ge Controls Range On Off and sets head and tail of range All Layers Controls the number of layers affected by edits JI Turns Razor edit on and off Range Selection Toggles range selection type between inclusive and exclusive v Snap Editing Turns Snap Editing On or Off Snap To gt Defines where clips snap to when mouse editing Jump To gt Defines Jump destination points for speedy project navigation Fade Menu Fades can be applied to clips using the binnacle keys as described in the Chapter on Fades on p 139 It is also possible to apply fades using the Fades Menu This is located at the top of your Dream II window and looks like this Fades Auto Fade Uses Playback head location on a clip to guess desired fade Fade Head Fades to head of Clip s Fade Tail Fades to tail of Clip s Make Overlap Makes a one second overlap by pulling out the head and tail of butted clips Macros What is a Macro Macros are recorded sequences of keystrokes jog wheel actions and rotary pot moves They can be learned then played back at any time to automate complex editing moves The keys that play the macros back are called macro trigger buttons Please remember this otherwise things will get confusing quite soon The system supports 30 macros and provides different layouts to access them When macros are played back they execute the keystrokes as fast as possible This can result in race conditions where for example the e
207. gi picture keys There are six megamodes triggered by the green keys at the bottom of the controller mport mute ef solo F menu mg Here is a quick outline of the Megamodes Editor This is the main platform for audio editing It contains a number of modes the most useful of which are Cut Copy Erase Trim and Fade While any of these modes are active three action keys at the left of the Jog Wheel give you the main commands needed e g cut tail trim head erase clip For details of the main editing commands see How To Editing For details of the other modes and button hold down the xplain key and press the button for which you would like some Xplanation Mixer This is the main platform for audio mixing and automation Automation comes alive when the Mix On button is pressed This enables all the automation modes and commands to be displayed and used For details of the main mixing commands see How To Mixing For details of the automation system see How ToAutomation For details of the other modes and button hold down the xpiain key and press the button for which you would like some Xplanation Setup Setup is used for all behind the scenes work Most functions here are set and left for the duration of the project Some of the most important are the Bus related modes such as Bus Format and Bus Assign the machine control setups Mi and M2 setup and the digital sync environment Sync Many of these are de
208. ging is possible while the transport is in play When nudging a Range clips not wholly within the Range are not affected However the Range itself is also nudged so it is possible to keep nudging the Range without resetting the From and To points This can be used for example to phase the audio with a guide track using Variable nudge with a small value Page 113 EDITING January 8 2013 Setting the Variable Nudge To set the amount that var and var will nudge the clips Step 1 Press the variable soft key Step 2 Turn the Jog Wheel or type a number on the Numpad Step 3 Press Enter Nudge Sync It is possible to nudge the audio inside a clip without moving the clip itself This is called Nudge Sync The Nudge function is normally in Clip mode i e clips are nudged To toggle it into Sync mode press the Nudge Sync soft key so that its label reads ON Fade and Crossfade The fade button allows fades to be applied non destructively to the heads and tails of clips The fades are performed by the system in real time as the audio is output from the machine Fades can be created on the fly relative to the playhead or they can be created and or modified on multiple clips at once Fades are applied from the picture keys soft keys and from the PC screen 0 10 20 30 40 50 60 70 80 90 100 O10 20 30 40 50 60 70 80 30 100 Eo E pao ee oien n A i Delet Capt 1
209. h some common editing procedures Cut and Paste Overview In this menu we cut audio to the clipboard then paste it using the Enter key The cutting action is performed by the cut head cut tail and cut clip or cut range buttons Note copy and paste is performed exactly the same way as cut and paste except that you start by pressing the copy mode button instead of the cut mode button Note erase is similar to cut without the paste except that the clipboard is not used To use this tutorial item you need to load a Project containing clips The system comes with a demo project To load it consult the following Xplain item How to Files Load Demo Get Ready Press the green Editor Megamode button Press the cut button to access the Cut menu Press the range key to turn it OFF Page 91 EDITING January 8 2013 Operation Locate the transport so that the cursor crosses the middle of at least one clip Identify the track containing that clip and double press its button to make it the only selected track If necessary use the Bank key The target clip should now be the only red clip on the screen Red means ready to edit Press and release the cut clip button The clip is now on the clipboard Move the transport The clip s ghost shows where it can be pasted Press another track number The ghost moves to the new track Press Enter to paste the clipboard contents once or many times Now press cut head or cut tail
210. hannels can be done quickly as follows Step 1 Click on the arm mute or solo button of the first channel Step 2 Drag the mouse to the right or left to toggle the other channels You do not need to do this accurately as the horizontal position is the only criterion for choosing Page 189 MIXING January 8 2013 Bus Meters Sub 3 The Bus Meter section shows all busses with non zero format see Bus Format on page 177 to learn about changing this As you add busses to your project the meters become thinner to accommodate them Page 190 MIXING January 8 2013 Plug ins Single click bypasses pug gt Fei Double click opens screen GUI cit Right click opens plug in Config window Insert Single click toggles insert Input Double click opens Patch I O Aux Sends Double click opens Aux Zoom page EQ Single click toggles EQ in out Double click opens EQ Zoom page Dynamics Double click opens Dyn Zoom page Pan Single click toggles Pan on off Bus Assign Double click opens Pan Zoom page Single click on Main or any Sub bus toggles assignment Arm Solo Single click toggles Arm Single click oggtes soo ng i Mute Single click toggles Mute Channel Name Single click to select as current Double click opens Virtual Channel Fader Level Channel System Name Shows the number of the track live bus or group Link group numbering is shown Fader Set level with mouse Double click to set 0 dB Col
211. hata ancl tal aie aad ee ee e ee ee ata hand ha ata ad hance In this case Analog Inputs have been selected Destination Categories Destination categories Page 55 PATCHING SIGNAL PATHS January 8 2013 Selecting a category of destinations expands it into the upper right of the screen In this case Track Inputs are shown Making a Patch Select a source and a destination then click the Patch button in the center Patch Afterwards the tiles used in the patch will show the results Source is always shown above destination Input 1 _ Source Source apy il I ik Zl z Destination Destination Notes You can select multiple sources and multiple destinations and patch them all with one command For example select Analog Inputs 1 to 8 and Track Inputs 9 16 then click the Patch command once Page 56 PATCHING SIGNAL PATHS January 8 2013 Any source can be patched to any destination For example a Bus Element can be patched to a Track Input for recording purposes To illustrate select the Category Sub Bus Out the outputs of all the Sub Busses The expanded view will show the Sub Bus elements separately and they can be selected and patched to track inputs for recording To deselect all the signal paths you have selected touch the Clear button The Multi Button Clicking the Multi button allows you to patch the same sources multiple times Normally after a patch both sources and destin
212. have used solo and mute to isolate a set of channels that need work and you now want to make some changes to them To make your Soloed channels also be the selected channels Step 1 Step 2 Step 3 Step 4 Engage the Solo menu by either holding down the solo button or pressing the sex button and then the Solo Menu button Select some channels to be soloed Hold down the Solo Menu button Two new buttons appear beside it Press the to SEL button The SEL layout appears and the channels that were soloed are now also selected These channels are the ONLY channels selected if there were other channels selected before they no longer are To make your Muted channels also be the selected channels Step 1 Step 2 Engage the Mute menu by either holding down the Mute button or pressing the sex button and then the Mute Menu button Select some channels to be muted Page 50 CHANNELS January 8 2013 Step 3 Hold down the Mute Menu button Two new buttons appear beside it Step 4 Press the to SEL button The SEL layout appears and the channels that were muted are now also selected These channels are the ONLY channels selected if there were other channels selected before they no longer are SEL to Solo or Mute Evo allows you to solo or mute your selected channels This is useful for listening purposes To solo your selected channels Step 1 Engage the SEL layout by pressing the sex button Step 2 Select some ch
213. he 3 6 or 9 key To access a User Set Step 1 Hold down the BLUE key Step 2 Press and release the 3 6 or 9 key To return to a contiguous track set simply select one NOTE When a user set is displayed the last selected track does not automatically appear on screen Automatic View of Selected Tracks Edit Set Choosing Edit Set causes the Edit Screen to display only selected tracks and this updates dynamically as you select and deselect them To turn on Edit Set Select the Editor Megamode Press the Edit Set button To exit Edit Set you may do the following e Press the Edit Set button again This will leave the selection as it was but it will no longer update dynamically This can be useful for displaying a mixture of tracks you want to edit and others that you want to see e Select a fixed number of tracks using the methods described above in Number of Tracks on Edit Screen Pyxis Track Displaying Video Full details about Pyxis Track are given in the chapter Pyxis Track on page 296 Track Colours Each track has a colour that is shown at the left and which can be given to the clips on that track Selected clips are always shown red i e those touching the cursor or in a range on selected tracks Page 34 CHANNELS January 8 2013 00 03 58 20 Selected IMG_0412 clips are always ee ee ee ny red eee ade eI cles ol nguna pmp ah a Tracks show colour Clips normally show Clips can also be gi
214. he Frequency and Gain values can directly be chosen and changed with the mouse by dragging the red dots in the graph area Applying the Changes To apply your changes click the Apply button or press the apply soft key Only the bands whose Enable checkboxes are selected will be applied To escape without applying your changes click the Esc button or press the edit soft key to deselect it New or Old Whilst adjusting an EQ parameter it is possible to toggle between the new and old settings using the NEW OLD soft key or clicking the New Old radio buttons until you apply the changes In or Out Toggle the EQ on and off with the In out soft key or the In Out radio buttons Copying an EQ The EQ parameters of a clip can be copied to another clip or Range of clips Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Press the clip EQ button Locate the cursor over the source clip Press the copy soft key or click the Copy button on the screen The enable checkboxes allow you to choose which of the bands are pasted into your target clip s Locate the cursor over the destination clip or define a Range of clips Click the Apply button or press the apply soft key Page 125 EDITING January 8 2013 Parameter Display Current EQ parameters are always shown at the top of the screen when the EQ menu is active helping to see what is active and what values are current The layout of the parameter values is exactly the sam
215. he Glide Out time Read to Write Trim When a parameter is punched in to Write from Preview the mix item ramps to the newly recorded value prior to the drop in point over the Glide In time set in the Utils menu For all other methods of entering automation record the mix item value is always the current Read value so there is no transition Automation Playback The DREAM II automation system ensures that your mix will always play back exactly as recorded There are two main forms of automation data recorded in a project The first is the static snapshot of all parameters which is recorded whenever a mix is saved The second type of data are the dynamic auto mation events that are recorded every time a parameter is modified while the system is writing or trimming automation Once a dynamic event has been recorded on a feed or bus that parameter will be in READ whenever Mix ON is engaged and the transport is in PLAY Page 246 AUTOMATION January 8 2013 When the system detects that a parameter control has changed while in Write or Trim a dynamic event is recorded that stores the previous value and the new value FROM value and TO value of that specific parameter at a specific timecode location When Mix ON is engaged and the transport is located to any position on the time line the automation system looks back and forward in time to find any events previously recorded for the parameter If no dynamic events have been recorded for th
216. he boom ON and OFF The fader control may be automated and will record data for the boom level parameter Use the enable key next to the Master fader to enable this parameter for automation Faders To under Automation While Faders To is active the parameters controlled by the individual control elements Fader Panpot Mute Switch etc are recorded into the automation as usual The Enable buttons associated with those controls which are found on the single fader located in the editing panel are used to enable the cur rently controlled parameters not the normal ones There are Enable buttons for the Fader panpot and Mute Switch but not for the Solo key When that is being used to control a parameter as in the case of Faders to Aux when it controls the Pre Post switching it can only be separated from the recording of the other controls by using Trim Mode or Touch Write which are described in the chapter on Automation Fader Sets Fader sets define the function of each channel fader on the Evo Fader sets are stored along with each project In addition separate fader set setups are stored in each automated mix that is saved There are 12 fader sets available at any time To select a fader set Press one of the Fader Set buttons 1 to 6a the left of the faders Use the Bank button to access the other 6 fader sets Alternatively Fader Sets 1 to 9 can be accessed by pressing the Fader Sets button in the Evo controller then pressing a
217. he list Each time you highlight a new clip it starts to preview Press and hold the shift key while scrolling to go faster Step 3 Double Click the selected WAV file to paste it at the playhead on the active track or drag and drop a clip to any track at any point on the timeline An alternative method gives you more control of the clip s final position Step 2A Press the Audition soft key or click the Audition button in the Smart Pane While Audition is lit the highlighted WAV file in the list will play as a clip on the current track while everything else is frozen if necessary take M1 off line to prevent the video moving You can also press the Jog button and move the clip with the Jog Wheel This allows you to find a sync point Step 3A Press the paste soft key to paste the auditioning clip at its current position on the current track This allows you to find a relevant sync point and paste the clip accordingly Page 159 AUDIOBASE CLIP SEARCH CLIPSTORES January 8 2013 Notes e The AudioBase3 results pane can be displayed underneath the Pyxis Track allowing easy placement of sounds to picture e During Audition you can use the Jog wheel when the transport is not in jog or the and keys in the numpad to move the highlight up and down the list To start auditioning the new clip toggle Audition off then on again e To hide the AudioBase3 results list simply enter another mode e g Cut e Setup your AudioBase3 S
218. he new location There is only one sync point per clip sync point Pressing the Trim Sync soft key creates a sync marker within the selected clip s at the cursor position This is shown as a yellow mark in the clip and can be used to visually locate an important moment To change the sync point press sync point atthe new location There is only one sync point per clip Trim Sync Trim Edit Options Trim is usually applied to a single clip or selections across tracks therefore no options are available range iS not supported in Trim Mode all layers is not supported in Trim Mode razor iS not supported in Trim Mode Slip slip mode moves clips to a new time location Slipping the head moves the head of a clip to the cursor while maintaining the position of the tail Slipping the tail moves the tail of a clip to the cursor while maintaining the position of the head slip is accessed on the same button as Trim Press it once for Trim twice for Slip You can also swap between the two modes using soft keys Page 111 EDITING January 8 2013 Slip Clip Step 1 Select a track and move a clip under the cursor Step 2 Press the trim key if not already on then press it again so that slip lights up Step 3 Press the trim clip key Step 4 Jog or play the transport Step 5 Press Enter the clip is moved by the amount you just moved the transport Two Handed Slipping This is a more powerful method which is worth learning S
219. he output of that instrument it must be patched to one or more Track or Live Feed inputs This is done on the Patch I O page in the normal way Step 3 The output right side shows all the tracks you have converted to MIDI Choose the MIDI controller MIDI Device In to be recorded on each track Normally this is the same controller for all tracks which would be your MIDI keyboard Patch the track output to any instrument you have loaded Metronome To set up a metronome use Setup Bars and Beats Setup Page 314 MIDI TRACKS January 8 2013 Bars and Beats Setup The metronome is created by the Oscillator To hear it use the Patch 1 0 page to patch the output of the Oscillator Noise channel to an open track or live feed Track 1 I Recording MIDI Clips Arm the MIDI track by clicking on the record button at the left of the screen Put it in record using the normal transport commands MIDI clips can be recorded on top of each other just like audio clips As usual the top layer is heard Fades and crossfades have no effect Page 315 MIDI TRACKS January 8 2013 00 00 47 21 00 00 42 00 00 00 48 00 MIDI clips show black and white notes at their relative pitches Editing MIDI Clips MIDI clips can be edited using the Cut Copy and Erase menus just like audio clips Head tail clip and range are all understood in the same way The Trim head and tail commands plus the Slip Clip command work as exp
220. he preset and the software will give no warning Using the Mouse and Screen While the Fade mode is active the screen displays shapes and controls for creating and editing fades Page 117 Step 1 Step 2 Step 3 Step 4 Step 5 EDITING January 8 2013 i p E Duration i i 00 00 00 20 Length IV Shape Fade Head Select a track and move a clip under the cursor Press the fade button if not already on Click the Head button in the screen display it s near the upper right Adjust the shape of the Head fade described below Click the Apply button The fade described in the shape is applied to the head of the clip Note that the fade duration is set by the cursor position as when using the picture keys Length and Shape The Length and Shape tickboxes allow you to choose what to apply You can untick the Length tickbox if you only want to apply the shape and vice versa Fade Shape Using the mouse and screen method allows you to set the fade shape before applying it The shape includes the following parameters Percentage X Point this controls the percentage of the fade s duration when it reaches the Crossover Point Attenuation X Level controls how loud the fade is compared to the full Level of the clip at the Crossover point Duration the total length of the fade in frames Duration is not really part of the shape but its control is close by Examp
221. he soft keys to set the Reduction Mode Normal gt no reduction Sub Bus level Main level Reduce reduction is on Path is assigned to the Reduction bus automatically when assigned to Main Free gt reduction is on Path assignment is independent Step 4 Press end to exit In Reduction Mode a Sub Bus has its own fader on each channel These are controlled using Faders To see Faders To later in this chapter Sub Bus faders may be set pre or post the Main channel fader using Bus Params see Bus Params later in this chapter All reduction faders default to OdB in post fader mode they offset Reduction fader levels from Main levels The Bus Format Dialog The Bus Format Dialog is another way to manage Bus Formats It is displayed when you select the Bus Format button in Step 2 of Setting Bus Formats above Alternatively click Mixer gt Bus Format in the menus above the Edit Screen N NN BeK mKEpmKmpmypa The Bus Format dialog lists only buses with non zero format i e buses in use You can add a Sub Bus or Aux bus by clicking in the Add group or by selecting an existing bus and clicking Duplicate this will create a new bus with the same format Format is set using a dropbox in the Format column the Width column is a read only indicator of how many elements are used by each bus Page 178 MIXING January 8 2013 Clicking in the Reduce column checkboxes will toggle a Sub Bus into and
222. hen ADR The ADR List can also be displayed using the command ADR ADR List Dialogue There are no items to show in this view When it is first opened the list is empty of cues Import Cue List froma Text File You may import an entire script through the use of the Import button in the ADR List This can import a short script that has been written in a word processor Each line of text in the file is treated as a separate line of ADR cue text Each line of text can optionally have one or more timecode numbers at the start of the line 00 00 00 00 This line has one timecode number Page 82 ADR January 8 2013 or 00 00 00 00 00 00 01 12This line has two timecode numbers The first timecode number becomes the cue in point and the second if present the cue out point Timecodes must contain 4 individual numbers separated by colons 01 00 23 12 or semicolons if the timecode is drop frame based 01 01 00 02 Here is an example of a text file in the correct syntax with timecode numbers at the start of each line 00 02 19 19 Her eyes shined bright and true 00 04 57 07 00 09 42 18 Do not look now but 23 58 39 03 00 02 58 19 Haven t I seen you before Importfrom CSV File Evo can also open ADR lists in comma separated variable CSV format In this case the Character should be included The format is as follows 2 columns of timecode Then next column is the character default is Then next column is the text Ex
223. hey are all audio tracks The software can e Create MIDI Tracks e Record MIDI events in realtime e Load MIDI song files e Cut and paste MIDI clips e Edit the contents of MIDI clips Setup A registry entry is required for MIDI commands to be visible Your Fairlight distributor should set this up for you when your licence is purchased The registry entry is as follows HKEY_CURRENT_USER Software FairlightAU Dream_ II Global Setup midiTracksEnabled Its value must be 1 You will need a MIDI controller keyboard or other and at least one MIDI instrument to play out These must be installed before starting Dream II software File Compatibility IMPORTANT Project files containing MIDI tracks CANNOT BE LOADED by earlier software Project files created by v3 1 software that do not contain MIDI tracks can be loaded by earlier software If all MIDI tracks are converted back to audio tracks losing all MIDI data the project can be saved and then loaded into earlier software NOTE v3 0 software has a prototype version of MIDI tracks using the Add MIDI Track command in the Track Menu This is incompatible with the MIDI implementation in v3 1 and you are advised NOT TO USE IT Convert Tracks to MIDI Each non video track in the system is either audio or MIDI By default all tracks are audio You can convert from audio to MIDI or vice versa by selecting tracks in the Editor and issuing the command MIDI gt Convert to or F
224. his EULA grants you the following license e You may use the SOFTWARE only on the DEVICE e NOT FAULT TOLERANT THE SOFTWARE IS NOT FAULT TOLERANT Fairlight AU HAS INDE PENDENTLY DETERMINED HOW TO USE THE SOFTWARE IN THE DEVICE AND Fairlight AU S SOFTWARE SUPPLIERS HAVE RELIED UPON Fairlight AU TO CONDUCT SUFFICIENT TESTING TO DETERMINE THAT THE SOFTWARE IS SUITABLE FOR SUCH USE e NO WARRANTIES FOR THE SOFTWARE THE SOFTWARE is provided AS IS and with all faults THE ENTIRE RISK AS TO SATISFACTORY QUALITY PERFORMANCE ACCURACY AND EFFORT INCLUDING LACK OF NEGLIGENCE IS WITH YOU ALSO THERE IS NO WARRANTY AGAINST INTERFERENCE WITH YOUR ENJOYMENT OF THE SOFTWARE OR AGAINST INFRINGEMENT IF YOU HAVE RECEIVED ANY WARRANTIES REGARDING THE DEVICE OR THE SOFTWARE THOSE WARRANTIES DO NOT ORIGINATE FROM AND ARE NOT BINDING ON Fairlight AU S SOFTWARE SUPPLIERS e Note on Java Support The SOFTWARE may contain support for programs written in Java Java technology is not fault tolerant and is not designed manufactured or intended for use or resale as online control equipment in hazardous environments requiring fail safe performance such as in the operation of nuclear facilities aircraft navigation or communication systems air traffic control direct life support machines or weapons systems in which the failure of Java technology could lead directly to death personal injury or severe physical or environmental damage Sun Microsystems
225. hown in Strip Mode and Wide Mode Pressing a strip button once displays the first page of that parameter s controls on all strips Some parameters have more than one page such as EQ and Aux Press the Strip button again to access the extra pages Strip buttons can be used in momentary mode Hold down a Strip button make a change toa parameter then release the Strip button to return to the previously displayed page BLUE Strip functions are those displayed below like this Normal function simply press to access Blue function to access hold down the BLUE button and press The BLUE button The BLUE button is a modifier key like Shift and Ctrl on a QWERTY keyboard Holding it down affects the behaviour of other buttons Here are some of the things the BLUE button does in the ILP e Accesses the lower of each pair of functions on the Mode buttons and Strip buttons e Sets default values on some controls For example hold down BLUE and o Touch any fader to set its value to 0 dB o Touch any aux level knob to set its value to 0 dB o Touch any LR Pan control to set it to Center o Touch any FB Pan control to set it to Front Strip Details The available pages are as follows pn fl Pan L R Pan F B Spread Divergence Rotation Boom Path Trim Phase Record Level Arm Insert Direct Output Page 228 THE IN LINE PANEL ILP2 January 8 2013 Threshold Ratio Attack Release Threshold Expand Gate
226. i Shift u Step 2 Click the Mix Follows Edit checkbox Step 3 Click OK Call Follows It can also be useful to have call following selection It can be a big time saver On the other hand it can be annoying if you are working separately on mixing and editing tasks To control this do the following Step 1 Press the cali button in the Setup Megamode Step 2 Press the roLLow soft key one or more times to give the result you want For standalone Evo systems Call Follows ALL is recommended For new users Call Follows ALL is recommended Later you ll find a working style that suits you and it may be better to change this setting Page 12 THE XYNERGI TACTILE CONTROLLER January 8 2013 The Xynergi Tactile Controller Introduction This information is reprinted from the Xynergi Media Production System documentation For this reason the illustrations are those of a stand alone Xynergi system Rest assured the workings are exactly the same y i Q Q Monitor Section pests S O BS O z 9 E T ee 03 00 za 02 Pad Track f Tra Track Tra Track n tract All Bank Bank 4 a 3 x u 1 Track t 4 sath EQ a ave L am j Fer all 1 S ok p B ey og Whee Monitor Section Picture Keys The rotary pots are used to adjust the Control Room and Studio monitor listening level The Mute buttons cut the level to their respective monitors The Dim button reduces the Contro
227. ial needed by the edit list from original sources such as video tape Conform edits the source audio recorded in the capture process placing it at the destination locations Page 338 PROJECT AND FILE MANAGEMENT January 8 2013 indicated by the edit list Reconform re edits an existing DREAM II project according to a cut list usually representing a re edit of the pictures in a video project Loading an EDL The first step is to load an EDL file Step 1 At the top of the Edit Screen click File gt Import gt EDL Step 2 Navigate to the file location of an EDL file and click the Open button This will cause the display of the EDL dialog goa 00 00 00 00 54 07 00 16 55 12 00 03 54 07 00 06 11 07 e 00 05 33 05 00 06 35 04 11 08 lt I ml mi M M pw 00 13 54 02 00 07 35 23 00 00 00 00 00 00 00 07 35 23 00 07 36 10 00 00 00 00 00 00 00 07 35 23 00 07 35 23 00 17 32 09 00 17 33 06 00 07 35 23 00 07 36 20 00 17 33 06 00 17 33 06 00 07 36 20 00 07 36 20 00 00 00 00 00 00 01 00 00 07 36 20 00 07 37 20 00 07 30 20 00 08 35 24 00 10 36 03 00 09 30 24 1 09 30 00 10 36 03 00 10 36 03 18 28 13 11 ooomonoowo Capture and Conform Capture and Conform are performed at the same time The audio for each line in the EDL is captured and immediately conformed Before starting we must set some parameters Step 1 Set up Track Mapping Page 339 Step 2 Step 3 PROJECT AND FILE MANAGEMENT Janua
228. icate that it is ready to be defined Selection keys on the selection panel for signal paths already in the current fader set are illuminated The selection key of the path currently assigned to the current fader will flash Press any feed bus or Group Master selection key on the selection panel to assign that path to the current fader Step 4 The next fader is automatically selected and the path assigned to it flashes Continue to assign faders in order or select a fader out of sequence by pressing its caLL key and making a selec tion on the selection panel Step 5 The mapping sequence automatically exits when you finish mapping the fader set If you wish to exit prematurely press the exit button The Library Introduction The Library provides storage for Equaliser Dynamics Plugins whole Channel presets or complete Evo snap shots Up to 100 of each type of preset can be stored These presets can be recalled and applied to any signal path in any project Page 220 MIXING January 8 2013 To access the Library menu press the Lib button in the Mixer Megamode Select the preset type by pressing the chan EQ chan dyn all chan Of all console soft key Select the library function by pressing the Save Load Or Delete keys The presets and functions are described below all chan means all the parameters in the currently selected signal path The Mixer Screen also provides a Library page where presets can be selected and applied to cha
229. ice The first time is to exit the Edit Macro layout and the second time is to display macro trigger buttons From now on simply press either macro button once to toggle macro trigger buttons on and off in your preferred location Note the system remembers your preferred location between sessions When the macro trigger buttons are displayed on the Numpad the keys flash a low Blue colour Macro trigger buttons 1 to 9 are accessed by Numpad 1 tO Numpad 9 Banks 1 to 3 are accesssed by pressing the 0 00 and Subf Clear buttons respectively Momentary Access to Macros To gain momentary access to macros hold down either of the macro buttons After a short delay three rows of macros will be shown on the picture keys regardless of where your current macro location is You can fire off any number of macros while holding down the macro button then release it to return to your previous layout Page 151 EDITING January 8 2013 Recording Macros To record a macro do the following Step 1 Hold down the BLUE key and press either of the macro buttons The Edit Macro layout is displayed on the Picture Keys Step 2 Select the macro you want to record by pressing its macro trigger button Step 3 Press the learn soft key The Edit Macro layout disappears and the macro fixed button starts flashing It will continue to flash while you record the macro Step 4 Record your keystrokes You can record as slowly as you like but the ma
230. ice offset Asm Indicates the 9 Pin device is in Assembly Edit Mode Inh Indicates the 9 Pin device is in Record Inhibit mode Ref Indicates the 9 Pin device is receiving a valid external sync reference Timecode Generator The LTC and MTC generators are independent of the machines controlled from the Smart Panel The checkboxes shown below are used to turn these on and off Page 348 SYNC AND MACHINE CONTROL January 8 2013 TCTC 00 00 00 00 The timecode generators have their own offset field shown above When the In Stop checkbox is ticked a repeated timecode frame is generated when the transport is stationary Otherwise timecode is generated only in Play MIDI Timecode is always output from the MIDI port at the rear of the SX 20 sync box Putting Machines Online Machines stay in stop and are ignored by the Evo system while offline To put a machine online do one of the following e Press the mi or m2 button on the Evo Center section e Select one of the Online checkboxes on the Machine Control Smart Pane bel ype Config Name Online Serve imecod Offse iptur Statu Arm fremaser I contio i m cocon T a AMC Remote sl r Mam lt 4 al U n l 00 00 00 00 aa a eee 00 00 00 00 ore Editing with Machine Control All the transport controls and locating methods operate with a 9 pin remote machine online The following procedure is used to place new recordings or previously used clips to pictu
231. ick to put track into automation record Click to arm track for recording must have audio input Click and drag for fader level and pan position iy IE Page 41 Click to select Video Track Double click here to collapse the Link Group to one track width Uncollapsed Stereo Link Group Click the number to select a single track or Link Group MIDI Track indication only Indicates Audio Track Collapsed 5 1 Link Group CHANNELS January 8 2013 Link Groups For arming the Link Group always behaves as a single entity so arming any member of the group arms all For mute and solo selecting the first member the Master soloes or mutes all members but the other members can be soloed or muted individually when the group is expanded Double clicking near the left edge of the tracks expands or contracts a Link Group Automation The Auto button puts a track in and out of Automation Record This is only available if Automation is switched on use the Mix On screen button or surface button The Mix On screen button The Graph button allows you to choose an Automation curve for each track out of Fader Mute and Pan Other choices are available in the Automation software see Automation chapter Fader automation chosen for graph display Mute automation chosen for graph display Pan automation chosen for graph display Zooming The track display represents a 24 hour continu
232. ideoCaptue Projects Scrollers Audio Plugins m Tracks that have scrollers Scroller Settings Level Mapping z IV Scrollers as Outline T Scrollers on full screen video J Scroller follows current track 2 Select the tracks you wish to see Only two tracks may be displayed You can also select tracks for scrollers by holding down Shift and pressing Zoom you can now release Shift and toggle scrollers on or off with the track keys You can only select a track if less than two are already on the screen While audio scrollers are displayed you can e Click at any point to locate to that position e Click and drag the scroller to move the transport e Zoom the scroller by floating the mouse above it and turning the mouse wheel Alternatively hold down the shift and Zoom keys then turn the Jog Wheel or press and buttons Other scroller preferences e Scrollers as outline you can display the scroller waveform in solid or outline format e Scrollers on full screen video you can choose to have the scroller display present when full screen video has been chosen This is useful for moving the timeline e Scrollers follows current track the scroller automatically chooses the most recently selected track for display Note the Video Scroller is described in the chapter called Pyxis Track You can also select tracks for scrollers by holding down shift and pr
233. ies to the disk audio tracks Pyxis Track if enabled the timecode generator if enabled and any machines that are being controlled by the system Transport commands include Play Stop Record Jog Rewind Shuttle and FF The timeline is shown at the top of the Edit Screen 132 133 134135 138 137 1 B38 140 141 142 143 144 140 141 143 143 144145 146i 147 148 149 150 151 152 153 154 155 156 157 04 00 00 16 A eE WO 04 00 07 00 Play Head The line in the center of the Edit Screen is called the Play Head This is the current point where the system plays audio and video It is also the point where most edits occur The timecode display shows the position of the Play Head Project The file created by Fairlight software containing the stored audio and its editing and mixing instructions Physical Input Output An analog or digital audio input or output Track Feed A signal path channel feeding to or from the disk recorder which can be processed and routed to mix buses and monitoring Live Feed A signal path channel fed from a live real time signal that has been brought from a physical input and can be processed and routed to mix buses and monitoring Page 2 INTRODUCTION January 8 2013 Bus Destination of a mixing operation Feeds are usually routed to buses via a multiformat surround panner Buses may be configured with various multichannel formats such as stereo LCRS or 5 1 Multitrack buses provide bus paths f
234. ill play but place undue stress on the system Watermarking allows you to superimpose a graphic design with partial transparency over your video file either on capture or while playing If you capture the file with the watermark it is permanently written into the video file Controls for watermarking are found in Setup gt General Preferences on the Watermark tab This tab is present if a Decklink video card is present and active See your Fairlight distributor for information about video cards Choose the bitmap you wish to superimpose by typing its name in the Bitmap field or by pressing the Browse buton Selecting the movement checkbox causes the watermark bitmap to periodically move on the video output The direction of the movement is specified with the pulldown with choices L gt R R gt L Top gt Bottom Bottom gt Top Selecting the dynamic checkbox causes the watermark bitmap to periodically turn on and off The time for each cycle is specified Page 308 PYXIS TRACK January 8 2013 Editing the Video Track Selection To select the video track e Click on the v symbol at the left of the video track double clicking makes it the only selection Click Here Video track is shown selected e Press the sex button then toggle video Track on the Picture keys it s at the lower left where ctrl is normally placed Track Track Editing with Evo Buttons Editing commands can be used with
235. ils of the other modes and button hold down the xplain key and press the button for which you would like some Xplanation Page 24 THE NUMPAD January 8 2013 The Numpad The Numpad or Numeric Keypad is the center of a great deal of Evo activity This section explains how to use it and gives more detail about its surrounding keys Parameter Entry Often you need to enter a numerical value This is normally terminated by pressing the Enter key The Jog Wheel and the and keys can often be used to raise or lower a value In the picture they are swapped Sorry Loc and Set The system maintains three Locators They are very useful for quick marking of positions and returning to them They are not saved with projects nor remembered between sessions The Set and Loc buttons are used to store and retrieve these locators They can be used in both momentary hold down or latched press and release mode To store the current timecode into a location momentary mode Step 1 Hold down the set button Step 2 Press the 1 2 or 3 button Step 3 Release the set button The same thing in latched mode Step 1 Press the Set button Step 2 Press the 1 2 or 3 button Page 25 THE NUMPAD January 8 2013 Step 3 While set is latched you may store other timecodes by pressing the 1 2 or 3 button Step 4 Press the Set button to unlatch it To retrieve locate to the timecode stored in a location momentary mode Step 1 Hold down the Lo
236. imple panner moving the signal left to right and front to back around the surround field with the addition of divergence control to increase the size of the sound field For link groups the pan control pans all members of the link group at once and adds spread and rotate functions which can imitate the effect of a camera pan with the entire surround sound field or collapse the entire sound field to a single point Link groups can be created with default pan settings for each member see Link Group Format on page 165 Panning IN OUT The Pan in out key bypasses the level control matrix of the panner and sends the signal path at unity gain to all destination bus elements The connection to individual bus elements may be turned on and off using stem assignment as described in Stem Assign on page 183 If the signal being panned is a Link Group all members of the group are sent to all bus elements Divergence Control The divergence control spreads the signal of an individual feed across more of the adjacent loudspeakers making the perceived size of the sound source larger The diverge control operates in one dimensional or two dimensional mode To switch between modes hold down the ALT key and press the Panning IN key The fat channel pan display changes from a bar to a circle when divergence is added The boom or LFE channel is not included in diverge One dimensional Divergence One dimensional mode is useful for spreadi
237. in Record the clip name dialog is displayed Use the QWERTY keyboard to type the name then press ENTER or click ox to finish Note If you select more than one clip or more than one track in record the affected clips will all get the same name Page 76 RECORDING January 8 2013 Using the Name Menu Press the name button to display a selection of all tracks Select the one s whose clip names you want to change Press the name soft key To rename clips they must be touching the cursor or wholly inside the range In either case they will be coloured Red Press the clip soft key to display the name dialog Use the QWERTY keyboard to type the name then press ENTER or click ox to finish Press exit to leave the Name menu Recording Shortcuts the Record menu Overview The record menu gives you some recording shortcuts which appear when the Record button is held down These include record head record clip record here and record again These are explained in the next step Preroll and Postroll Many record menu commands use a Pre Roll and Pre Roll The length of these can be set in the ADR List To access this Press the green Record Megamode button then apr then use the on screen dialog The ADR List can also be displayed using the command ADR ADR List Using the Record Menu Hold down the Record button to display the following soft keys head prerolls then punches in at the nearest clip head on the sele
238. in will generate a file with extension DLL in the folder that your plug in has been installed most commonly located in C Program Files VSTPlug ins Step 2 Copy the DLL file and paste into C Program Files Fairlight Dream II Effects VSTs Step 3 Restart the Dream II PC Block Size You can control the size of blocks sent to your plug ins over the AudioBridge The AudioBridge connects the real time CC 1 audio environment to the block based audio environment in the PC where plug ins are performed Larger block size means more reliable operation but longer latency Fairlight recommends using 1024 samples To set block size click Setup gt General Preferences and click the Audio Plugins tab General Preferences J x Options Audiobase Playback Video Capture Projects Audio Plugins Latency a dams Scan on each Startup D Rescan Cancel Scan Use the slider to set the Block Size Latency for each block size is shown NOTE Latency is also affected by the processing delay of the VST plug in itself i e the time it takes for the CPU to execute Block size makes no difference to this Page 266 PLUG INS AND REWIRE January 8 2013 Scanning on Startup If you check the Scan on Startup button in the General Preferences dialog shown above the system will scan all your plug ins each time it starts If you have a large number of plug ins this can take a long time especially since many of them require dongl
239. ion of any signal paths in the system These can be displayed the Master Screen Meters There are 9 meter sets in the system There are two ways to choose sources for the Meter Sets Using the Master Screen Meters Step 1 Click Meter sets and choose a meter set you can change your choice later Step 2 Click the Define button The system displays the Patch I O page Page 291 METERS January 8 2013 roo Meter Meter Meter Meter Meter Meter Sub 1M Sub 2M Sub 3 M Sub 4 M Multi Set 2 Set 2 Set 2 Set 2 Set 2 Set 2 Undefined Undefined Sul 2 bu 5 5 5 Meter Meter Set 2 Set 2 Undefined Undefined i Track Track Track Live Live Aux Bus Ses Meter Meter Meter Meter Meter Meter Repro Send Direct Send Direct Send User set 1 set 2 set 3 set 4 set 5 set 6 Aux Bus Aux Bus Sub Bus Sub Bus Sub Bus cR Mon View Meter Meter Meter Dir Out Send Dir Out Dir System set 7 set 8 set9 CR Mon Main Main Main see Analog Out Send Dir Out Inputs Digital MADI Salo Instrument Inputs Inputs Out Inputs Step 3 Select the source type you want in the lower left section Step 4 Select one or more signal paths to patch to the meters If you wish to display Tracks or Live Feeds choose their Insert Send which always sends even if Insert is not switched on it s the Return that is affected by the switch Note the position of the insert in the channel which can be controlled on the Path Menu Choosing Direct Out is also possible but is subject to the Direct Out on
240. is only available when a link group is selected The spread control adjusts the perceived size of a surround mix The spread control range is from 0 to 100 At 0 the display reads POINT meaning point source At 100 the display reads FULL meaning full surround At FULL spread the LR and FB pan controls have no effect as each member of the link group is hard panned to their respective bus elements As the spread is reduced the panning of each link group member is made to converge with the location of the link group master pan control With the spread control less than full the pan control enables the sound field to be moved to favour the location of the pan target As the spread control approaches POINT the panning of each member becomes closer to the pan location of the link group master This has the effect of mixing the signals of each link group member so that they all emerge from the same loudspeakers as determined by the link group master pan When a link group is created with default pans spread is set to maximum divergence is set to minimum and rotation is set to zero The spread control can be used to great effect when it is desired to collapse the surround sound field to a point source This may occur for instance where the camera moves continuously from an interior shot to an exterior or visa versa The surround field can be established for the interior and then as the camera moves through the door or window the surround field collapses a
241. is shown with a list of the undo and redo events in the project The red items are those which have been undone already Step 2 Use the Jog Wheel to move the highlight up and down the list Page 250 Step 3 Step 4 For the AUTOMATION January 8 2013 You may press the Undo Or Redo button at any time You may press the Enter button at any time to execute the undo or redo step that is highlighted This will also close the Undo dialog box purposes of automation an undo step is recorded each time the system enters or leaves write or trim or when undo data is changed by graphical curve editing System Mix Save function The System Mix function is available from the FILE menu When switched on the current mix pass will automatically be saved when the project is closed and will likewise automatically be loaded when the project is opened Step 1 Press the File button in the Mixer Megamode Step 2 Press the sySTEM MIX oN Soft key in the LCD menu The Mix Menu Press the Mix Menu key to display the Mix menu When the mix menu is active the feed and bus selection keys are used to enable specific paths for automation The From and To keys can be used to set the In and Out points for automation punch In and Out points which are displayed at the left of the Pad The available mix memory is displayed in percent The current mix name is displayed at the right of the Pad Target Copy Mix Paste Mix On STOP Touch Auto
242. is visible in the Editor and Mixer Megamodes This guide will show you how to assign paths to Buses using the Bus Assign screen Get Ready Press the green Setup button Press the Bus Assign button Page 181 MIXING January 8 2013 The Bus Assign Screen ake 2z z z amp fz 3 w Ey A E ezf Sz aos aH w D Re A O A All Tracks Maa FX grae FX staca ASLOI M M M M M M M M h Track 15 Track 16 Track 19 Track 20 Track 21 Track 22 Track 23 Track 24 Re 5 All Lives R M M M M M Track 31 Track 32 Track 33 Track 35 Track 36 Tra i i 54 Tracl M M Track 25 Track 26 Track 27 Track 28 Track 29 H o fad F RE a E ig In oa A BEE D Gaj a as z D E 4 Rog Saf f N E nee NI 2 R w o Bo h n 3 oH a BEE D Deassign All 4 4 Ro amp a ree 44 Tr Ao ae w ca a no RH W Tr D Tr am m AKM on a ies Am o a Fal AT oa oa k 58 Tak 59 om fa SI 3 qo PER 53 Trai mrak 56 Trai Ao 4 Aico ae a 5 om aH uw A w on R w Tra iss ck Track 63 Tra ies m k 64 Tak 65 Trak 66 Trak 67 Trak 68 Track 69 Trak 70 Trak PT m aa N a a a o AD y N Trak 75 Trak 76 Trak 77 Trak 78 Trak 79 Trak 80 Trak 81 Trak 82 Trak 83 Trak 84 mrak 87 Trak 88 mak 89 nrak 90 Trak 91 Trak 92 Track 93 Track 94 Trak 95 Trak 96 Bo B2 Be B2 Bo Bo Be Bo B2 Bo B2 Bo SFX
243. ix a large number of channels with a small number of faders By default 12 faders are allocated to the Mixer Set but you can change this as explained below If you have more than 12 faders the remaining ones continue to display the contents of whichever Fader Set you have chosen So you can have some fixed allocations and some dynamic ones To turn Mixer Set on Page 26 THE NUMPAD January 8 2013 Step 1 Hold down the Fader Sets button Step 2 Press the 0 button Step 3 Release the Fader Sets button The same thing in latched mode Step 1 Press the Fader Sets button Step 2 Press the 0 button Step 3 If desired press the Fader Sets button to unlatch it if you prefer you can keep the Fader Sets layout handy for more changes To choose the number of faders dedicated to Mixer Set do the following Step 1 Press the Fader Sets button Step 2 Hold down the o button for a couple of seconds The numbers 1 to 24 appear on the track keys The selected number corresponds to the number of faders in your Mixer Set Step 3 Choose a number from 1 to 24 If you choose a number that greater than the number of faders in your system Mixer Set will not work correctly Step 4 If desired press the Fader Sets button to unlatch it if you prefer you can keep the Fader Sets layout handy for more changes Mixer Set Modes Mixer Set has three modes Variable Fixed and Off The procedure above turns Mixer Set on and puts it in Variable mod
244. ix selection This is because the curves are displayed on the Edit screen Display Toggles the curves display on and off for the selected tracks Edit Allows editing of the curve information Pressing it accesses the Event and Delete soft keys Event displays all the automation data points so you can select and move them with the mouse Delete removes all selected automation data points Target Accesses the pull down menu where you can choose the parameter to be displayed on curves for the selected tracks Clear Hides the curves on selected tracks Data Storage All the mix data of the current mix is stored in system memory This data must be explicitly saved to disk as a named mix If a new project is loaded the previous mix data is retained in memory and may be saved as a mix in the new project Mix Thinning Evo offers a Mix thinning algorithm that ignores identical static mix data This is especially useful for large amounts of mix data as it can largely reduce the actual number of mix events When automation is written there can be events that are nothing more than a block of static information e g nothing more than an in and out point with no dynamic information in between These neutral events can nonetheless add up to a lot of data With Mix Thinning turned on multiple identical events of this nature are only identified once therefore creating less events data in the global mix The feature operates transparently
245. ktime mov Avi avi Windows media format wmv Mpeg4 files mp4 Mpeg 1 or 2 mpg m2v mvf dv25 dv or dif Bitmap bmp or Cineon cin sequence of images in sequentially numbered files 1 frame per file Final Cut Pro XML project note that nested sequences are not imported Page 299 PYXIS TRACK January 8 2013 jpeg also any Dream Pyxis native files which are uncompressed vmu dv25 dif mjpeg vmj lossless Huffman compression vmh Import by Drag and Drop A quick way to import video files is to use Drag and Drop as follows Step 1 Step 2 Step 3 Make sure that a Pyxis track is displayed If not see above Open Windows Explorer or My Computer and find the video file you wish to import Drag the video file from the Windows Explorer window and drop it on the video track in the Evo Edit Screen The following file types can be imported using drag and drop Quicktime mov any more than 2 accompanying audio tracks must be imported the system will prompt if this is necessary Avi avi Windows media format wmv Mpeg4 files mp4 Mpeg 1 or 2 mpg m2v mvf dv25 dv or dif MXF mxf containing dv25 dv50 dvi00 DVCPro HD or IMX mpeg compressed video Omf video files omf containing mjpeg dv25 or uncompressed video Thomson Grass valley dv25 files vid Bitmap files single still image bmp useful for a clapper board LongGop
246. l Room CR monitor level To control how much the level is dimmed Page 13 THE XYNERGI TACTILE CONTROLLER January 8 2013 Step 1 Stop the transport Step 2 Hold down the Dim button Step 3 Turn the Jog Wheel The level is shown in the Pad Step 4 Release the Dim button Fixed Level Monitoring Sometimes the monitoring environment must be set to a standard level and not changed This is called Fixed Level monitoring The Dim button is used to fix the CR monitor level When fixed it is unaffected by the rotary pot To turn on Fixed Level monitoring Step 1 Stop the transport Step 2 Hold down the BLUE key Step 3 Press the Dim button To set the level for Fixed monitoring first set up an SPL meter at an appropriate position Step 1 Stop the transport Step 2 Hold down the BLUE key Step 2 Hold down the Dim button Step 3 Turn the Jog Wheel The level changes and is shown in the Pad Adjust to match the required SPL level Step 4 Release the Dim button Step 2 Release the BLUE key Page 14 THE XYNERGI TACTILE CONTROLLER January 8 2013 Fixed Keys Fixed keys are normal switches with labels that do not change Their functions change a little but not as much as the picture keys LEDs show function and status Page 15 THE XYNERGI TACTILE CONTROLLER Numeric Keypad Numpad January 8 2013 The Numeric Keypad also known as the Numpad has many uses Its function changes when you pres
247. l or fade clip key to choose which end s of the clip you wish to change Step 3 Use the Jog Wheel to adjust the x Level or X Point You can see the change in the shape as well as the value you are jogging by looking at the Fade Panel in the upper part of the Editing Screen You can also type values into the x Level or x Point field using the Numeric Keypad or the QWERTY key numbers Always start with a minus when typing X Level values as they are always negative Step 2 Turn off the length soft key if you do not wish to apply the Smart Panel fade durations to the selected clips Step 3 Press the Enter key to apply the fade shape as specified Capturing Fade Shapes To capture a fade means to extract all of its parameters making them available to apply to other clips Page 116 EDITING January 8 2013 Step 1 Press the capture soft key Step 2 Press the fade head fade tail or fade clip key to capture the fade length and shape from the current clip The current clip is the clip currently touching the play head on the active track Having captured those values you can apply them to any other red clip by pressing the fade clip key Turn off shape or length if you don t want to apply it Deleting Fades Step 1 Press the delete soft key then press the fade head fade tail or fade clip key to delete fades Pressing the fade clip key affects fades at both the Head and Tail of each selected red clip while pressing head aff
248. l there on an underneath layer so that you can quickly go back to the original recording if required Page 278 PLUG INS AND REWIRE January 8 2013 Note DREAM II systems provide full native processing on every channel including EQ Filters Dynamics and surround panning This means plug ins can be reserved for special applications Using VST Instruments in Evo While Dream II does not include a MIDI sequencer VST Instruments can still be played live through the system This can be useful for e Foley using a VSTi sampler e Live musical performance e Tuning vocals with a VSTisampler and MIDI controller with pitch wheel e Live effects triggering with a VSTi sampler VSTi s can easily be recorded to tracks or inserted on Lives depending on your needs ReWire About ReWire ReWire is a software protocol jointly developed by Propellerhead and Steinberg It enables remote control and data transfer among digital audio editing and related software Originally appearing in the ReBirth software synthesizer in 1998 the protocol has since Evolved into an industry standard The ReWire Mixer The ReWire protocol is designed to allow a number of ReWire C ents to communicate with a single ReWire Mixer Only one ReWire mixer can be active at a time Dream II is always the ReWire Mixer The ReWire Mixer can accept up to 256 inputs from each of the connected ReWire clients Dream II currently supports 96 of these
249. layer to another using the mouse The left end of the clip is known as the head The right end is the tail Clips also contain information about the original timecode location of the audio data when recorded and the current timecode location of the displayed clip If a clip shows only a portion of the associated audio data on disk it may be trimmed to show more This picture combines a non layered view top and the same clips with layers shown below Page 36 CHANNELS January 8 2013 Each view has its advantages Add Clip You can create a new clip in a few ways e Recording into the system see the chapter Recording page 69 e Importing clips from other projects see page 132 e Directly adding a clip To directly add a clip use the Track menu as follows Step1 Use the command Tracks Add Clip The system displays the following dialog Step2 Choose the track where you want the clip to be placed Step3 Choose the audio file that will be played by the clip You may type in the name of the file if you know it including its full path Alternatively click the Browse button labeled and find the file in your disk storage Step4 Choose a name for the clip Step5 You may audition the clip at any stage to confirm that you have the right audio Step 6 Click OK to create the clip It will be placed at the current timecode position on the track that you chose Clip Display Information You can choose which info
250. lays from one second before clip head on current track Play Tail Plays from one second before clip tail on current track Play Fade Plays from one second before clip fade out on current track Play Again gt Plays from the same point as last time Note Play Again appears on the same key so you can just press Play Menu twice for Play Again Play Menu Play gt Prerolls the current position then goes into play Note Preroll is set in the Sync menu Press the sync button in the Setup Megamode Alternative Transport Set For users more accustomed to earlier Fairlight products an alternative transport layout can be chosen To do this press the play jog button on the Setup Megamode When play jog is toggled on the keys are coloured violet and work as shown below This is always a play key This key toggles between Jog and Stop Jumping Overview The Jump keys locate the transport instantly to your choice of Jump Targets such as clip heads and tails fades and marks To set the current Jump Target hold down either Jump Key and use the soft keys to choose one or more targets To jump by a number of seconds hold down either Jump Key and use the Numeric Keypad to select the length of jump from one to nine seconds 0 jumps 10 seconds 00 jumps 1 frame Page 62 TRANSPORT January 8 2013 The Jump Menu While you hold down a Jump Key the soft keys offer the following Jump Targets Select one or two and release to ju
251. le Percentage 30 Attenuation 3 dB Duration 20 This means that the fade will last for 20 frames The crossover point will be 6 frames into the fade at which time the level will be 3 dB compared with full Level NOTE The fade shape can be changed directly with the mouse by dragging on the red buttons in the graphs Fade Tail Same as Fade Head but the fade is applied to the end of the clip Fade Clip If both Head and Tail are selected when you click Apply both ends of the clip can be faded at the same time Using a Range If a range is present when the Apply key is clicked all clips that are wholly inside the range will be affected by it Page 118 EDITING January 8 2013 Fade Presets The system provides nine convenient fade shapes as presets These can be recalled instantly by clicking on the keypad at the left Having recalled a preset it can be applied to the Head and or Tail of the currently selected clips using the Apply button Presets A preset is a saved shape for head and tail Factory presets are provided for your use Custom presets are saved by you To load a factory preset press the Preset soft key then press keys 1 9 on the numeric keypad to choose one of the 9 factory fade presets The preset is loaded into the Shape graphs and can be applied to clips in the usual way Alternatively click a number in the preset pad at the left of the display i 20 20 40 50 60 Click to load a factor
252. le clip or selections across tracks therefore no options are available range is not supported in Slip Mode all layers is not supported in Slip Mode razor iS not supported in Slip Mode Nudge The nudge function slips clips by a predetermined amount of time nudge can operate on one or many tracks affecting clips that lie under the cursor or within a Range nudge can operate in fixed steps of plus or minus one frame or in variable steps from 1 to 99 sub frames a sub frame is 1 80th of a frame Using Nudge Step 1 Press the nudge button Step 2 Locate the cursor over the clips and select the appropriate track s Step 3 Press the var var 1 fror 1 fr soft keys to slip the clip s by the selected amount When there is no Range only the top layer of clips highlighted under the cursor is nudged The var and var keys move selected clips by an amount controlled by the variable soft key It is usually set to a small amount e g a few subframes for very fine control of clip position Nudge with A Range Follow these steps to perform a Nudge with a range selected Step 1 Press the nudge key to the left of the LCD Step 2 Use the from and to keys to select a Range that includes all clips to be nudged Step 3 Press the var var 1 fror 1 fr soft keys to slip the clip s by the selected amount When a Range is selected all layers of clips within the Range are nudged including those which are completely buried NOTES Nud
253. le option Invoke Video Capture Mode Unlike an audio recorder digital video capturing equipment must be in a specific Video Capture Mode in order to record an incoming signal In DreamII you can invoke this mode by navigating to Setup gt Video Capture Mode General Preferences v Locked Playhead Bars and Beats Setup Media and Project Management Instruments Flip Decklink Field Order With Video Capture Mode ON your decklink card will act as a loopthough device and will display the incoming video signal This is in contrast to its normal mode where the Decklink card displays whatever video is Un on the Pyxis track 5 With Video Capture Mode ON you may ARM the Pyxis track and record the incoming video signal in the same way as you would record audio Encryption Video files can be encrypted as they are recorded This will prevent anyone from seeing the video without applying the password If you wish to capture to an encrypted format do the following Page 303 PYXIS TRACK January 8 2013 Step 1 Open the dialog box at Setup System Preferences Video Capture Step 2 Enter an encryption password in the lower part of the page Confirm by repeating entry of the password Step 3 Capture a video file The same password must be entered to unlock encrypted video media each time the project is opened Once you have entered the password you can open any files encrypted with that password
254. lected Mark or click the Jump To button if you want to keep the dialog open Normally marks are displayed at the top of the Edit Screen To display the mark as a vertical yellow line check the Line Marker box The middle mark below is a line marker while the other two are normal Page 65 TRANSPORT January 8 2013 00 53 13 00 00 53 15 00 Jump to Mark Hold down one of the Jump keys Press the Mark soft key if it s not already on Just for now turn the others off Marks are now your Jump Target Release the Jump button to locate to the next or previous mark in the project Press the Jump button a few more times to keep moving through the marks Step 1 Hold down the BLUE key Step 2 Press the Go To button Step 3 Release the BLUE key You may now continue with the Go To Timecode procedure To complete our example of going back by 2 seconds and 3 frames continue like this Step 4 Type the button Step 5 Type the numbers 203 if subframes are not being displayed otherwise 20300 Step 6 Press the Go To button again or ENTER Play Or Esc You might press the Esc key if you simply wanted to capture the current timecode for another purpose such as setting an Edit Range Go To Mark A Mark is a stored timecode Marks are created by pressing the Mark key which is visible in the Edit Megamode You can press it at any time in any transport mode Marks are shown above the track display in the Edit Screen as yellow pointers
255. lightAU Projects New Project11 J6 gt Go Folders Name Size Type O etax2003 CMedia File Folder 7 etax2004 m E New Project11 DR2 33 337 KB DR2 File D etax2005 D etax2006 E O Fairlight 5 Fairlightau X S 4 TE gt 2 objects Disk free space 101 GB 32 5 MB d My Computer The picture above shows the typical file layout with a DR2 file The Media folder which is automatically created by the system contains the audio in the form of WAV files while the DR2 file contains the Edit list mix information and automation files Page 322 PROJECT AND FILE MANAGEMENT January 8 2013 PE nix View Favorites Tools Help ay P r S 9 Search iy Folders HA J DB FairlightAU Projects New Project9 Media gt Go Name Size Type AFL Recorded Audio 13_a1 1GC84Z6BC437X way 766KB WAV Audio FL_ Recorded Audio 14_a2 1GC84Z6BC437 way 766 KB WAY Audio FL_ Recorded Audio 15_a3 1GC84Z6BC43 Z wayv 766 KB WAY Audio C FL_ Recorded Audio 16_a4 1GC84Z6BC43 _ way 766 KB WAY Audio FL_ Recorded Audio 17_a5 1GC8426BC4320 way 766 KB WAY Audio C FL_ Recorded Audio 18_a6 1GC8426BC4321 wav 766KB WAY Audio el gt isk free space 101 GB 4 48 MB P My Computer The Media folder looks like this The WAV files are named as follows Clip Name _ Track number _ GUID wav The Clip name is the automatic name given to the clip by the system Or you may hav
256. lled later MIXES MUST BE SAVED BEFORE CLOSING A PROJECT or any unsaved mix data will be lost It is not enough to simply save the project See System Mix below for a useful safety measure The available space left in the project file for new mixes or mix data is displayed in the Mix menu When the space left falls below 2 the save soft key becomes disabled Saving a Mix Step 1 Press the File button Step 2 Press the Save soft key in the LCD menu Step 3 Type a unique name for the mix on the PC keyboard and press Enter Alternatively type a name with a numeric suffix e g Demo Mix 1 The next time you press Save anew name will automatically be generated with an incremented suffix e g Demo Mix 2 Press Enter to save the mix with the new name Loading a Mix Step 1 Press the File button Step 2 Turn the jog wheel to scroll through the previously saved mixes These appear on the screen and in the XCS Pad area Press the sort soft key to select TIME or ALPHA ALPHA sorts the saved mixes in alpha numeric order TIME sorts the saved mixes in the order in which they were saved with the most recently saved mix at the end of the list Page 249 AUTOMATION January 8 2013 Step 3 Press the Load soft key in the LCD menu to load the selected mix Step 4 Confirm by pressing the Yes or No soft key Deleting a Mix Step 1 Press the File button Step 2 Turn the jog wheel to scroll through the previously saved mixes Step 3 Press the D
257. m Another Project on page 256 You can force the audio to be audible only on selected tracks as follows Step 1 Step 2 Step 3 Step 4 Step 5 Select the Editor Megamode Hold down the solo button Press the Follow Lib soft key until the label goes to ON Release the solo button Press exit Page 132 EDITING January 8 2013 Gating Clips The Gate Clips function is a rough but quick and useful way to remove unwanted silence or near silence from clips Using the Gate Clips Function First you will need to select the track s using the track feed keys and select the clip s either by selecting a range or by parking the playback head over the desired clips You are now ready to perform the Gate Clips function To do this Step 1 Press the button The gate preview window is displayed automatically Step 2 Move any of the or select the j or soft keys and turn the See below The threshold controls the level below which audio will be removed The grey areas show that will be erased by the gate The Tail Handle adds extra audio of the length you choose AFTER the level has dropped below threshold The head handle adds extra audio of the length you choose BEFORE the level drops below threshold Page 133 Step 3 EDITING January 8 2013 When you are happy with the amount retained versus the amount removed from the graphic representation press the Gate button to process your settings All
258. m closure of FMC Start MSAT using Start gt All Programs gt Fairlight gt FMC FMC Utils gt MSAT Shortly after starting it if FMC is running you ll see an error message about incompatible file versions which can be ignored x x Version Error FMC and MSAT have incompatible UICtrlViewDefs Close MSAT and restart a compatible version Now start FMC using Start gt All Programs gt Fairlight gt FMC gt FMC Early in the boot process FMC will report on the MIDI devices When you see it click the red Stop button in the upper left of the MSAT screen to freeze the display It will look something like this Comms is ONLINE GDB 09 42 59 gt Physical Memory Available 705492K GDB 09 42 59 gt Mix Memory allocated 39062K GDB 09 42 59 gt FMC is ONLINE GDB 09 42 59 gt FMC re sync GDB 09 43 00 gt Disabling UI Completed GDB 09 43 00 gt FaderCount 8 GDB 09 43 00 gt Midi IN 0 of 4 name USB Audio Device GDB 09 43 00 gt MIDI in device 0 GDB 09 43 00 gt manufacturer 65535 GDB 09 43 00 gt product 65535 GDB 09 43 00 gt version 1 1 GDB 09 43 00 gt name USB Audio Device GDB 09 43 00 gt Midi IN 1 of 4 name USB Audio Device 2 GDB 09 43 00 gt MIDI in device 1 GDB 09 43 00 gt manufacturer 65535 GDB 09 43 00 gt product 65535 GDB 09 43 00 gt version 1 1 GDB 09 43 00 gt name USB Audio Device 2 GDB 09 43 00 gt Midi IN 2 of 4 name USB Audio
259. macros txt It is found in C Program Files Fairlight FMC Data User username where username is your login user name This assumes that you have used the default C Program Files Fairlight as your installation folder It is beyond the scope of this manual to explain in detail what all the items in this file mean If you are technically minded it is not too hard to figure out Here are a couple of clues CONTROL 16 CID_SW_CUT 1 CONTROL 16 CID_SW_CUT 0 These two items are keystrokes The one ending in 1 is the downstroke The one ending in 0 is the upstroke CONTROL 687 CID_SW_MFX4_61 1 CONTROL 16 CID_SW_MFX4_61 4 This occurs when you hold a keystroke down for a couple of seconds this might be needed to operate momentary menus for example The 1 is the downstroke and the 4 is the hold of the key Sooner or later you ll see something like CONTROL 687 CID_SW_MFX4_61 0 meaning you ve released the key As for deciphering which keys are which it s difficult Keys like this CONTROL 16 CID_SW_CUT 1 CONTROL 250 CID_SW_ENTER 0 CONTROL 16 CID_SW_PLUS O CONTROL 15 CID_SW_00_48T 0 are Clear enough they are cut enter and 00 But keys like this CONTROL O CID_SW_MFX4_61 0 CONTROL 656 CID_SW_CUSTOM_ 16 1 are internal macros built by Fairlight programmers No list is available Good luck with this Note after editing and saving your macro txt file you must restart the Evo system before the macros a
260. made inactive This means you can quickly audition the changes you have just recorded by pressing Play Menu twice without having to first disable automation To perform another automation pass the In and Out points must be made active again by pressing Active In and or Active Out Link Audio and Mix Recording with PRIME The PRIME function links the automation to the audio recording controls This means that whenever you enter normal recording on the transport controls the automation system also enters recording This is particularly useful if your working method is to record your mix progressively as you go through a project because you will automatically be recording the automation moves at the same time It s also useful if you gain some facility with the recording controls including the ADR menu which offers some very sophisticated rehearsal and automatic recording features To use the PRIME function press the Prime key While it is on Press the PLAY and REC transport keys to drop in to record Note that the enabled Mix Items enter Write and armed tracks enter record Press STOP or PLAy to drop out of record The enabled tracks return to Read NOTE It is not necessary to have any tracks armed for recording in order to use PRIME It also allows you to use Record Again and other automated record functions as triggers for Automation Record Saving and Loading Mixes Up to 256 complete mixes may be saved in each project and reca
261. mation system provides simple flexible and comprehensive facilities for recording and editing mix automation data All feed and bus mix parameters can be automated and played back in perfect synchronisation with the project audio In addition to the channel parameters bus assignments inserts and direct outs may also be recorded The Evo automation system is designed to allow the operator to record all the static and dynamic parameter changes involved in balancing the mix of tracks played back from the disk recorder and live feeds from external sources Mix moves may be recorded on one or more parameters or channels ata time More moves may be added with each pass resulting in complex and detailed mixes that can be played back identically every time the project and mix are loaded This chapter does not cover basic operation of the mixer Refer to the chapters on Patching and Routing Faders On Screen Mixing and The InLine Panel for a complete overview of mixer operation Automation Basics below provides an intro to the fundamentals of the automation system Example procedures are detailed later in the chapter Automation Basics Write Trim and Read In Automation we use the terms Write Trim and Read e Write means to record absolute values of parameters e Trim means to record changes to stored values of parameters e Read means to play back the parameter values that have been written The word record is us
262. may be lit that means they are patched to one or more of the selected tracks Press the source that you want to patch to the selected tracks This source is now patched to all of the selected tracks subject to the following rules If the source is a bus its elements are patched sequentially to the selected tracks and their neighbours For example Sub 1 is a stereo bus and Tracks 3 5 and 6 are selected After pressing Sub 1 the patching will be as follows Subi Left gt Track 3 Subi Right gt Track 4 though it wasn t selected it just happens to be Track 3 s neighbour Subi Left gt Track 5 Sub1 Right gt Track 6 Page 59 TRANSPORT January 8 2013 Transport Basic Transport Controls The PLAY STOP FF and REW controls work in a similar manner to a tape machine Press FF and REW multiple times to accelerate through 8 24 60 150 and 360 times play speed To enter record press the REC and PLAY keys together The play command can be accessed also by pressing the Jog Play Button Hold down Record to display special commands on the soft keys The Spacebar on the QWERTY keyboard can also be used to toggle the transport between Play and Stop while the Track Display is in focus click anywhere on the Track display to give it focus Jog Commands Jog is a mode where the transport moves as you turn the Jog Wheel Both video and audio move along in sync To enter Jog mode do any of the following e Press the Pla
263. may change the event value move up or down or its timecode move left or right The timecode position is bounded by the next and previous events The timecode and current value of the event are shown in the Automation Edit group of the Smart Pane e Select one or more events by making a box marquee with the mouse Selected events may be e Dragged up and down or left and right Left and right movement is bounded by the next and previous events The value of the highest point is shown in the display above e Deleted using the Del key e Create a new event by clicking where there is currently no event e Combine moving and creating by clicking above or below the line If there is no point at the timecode where you clicked one will be created but if there is one within a quarter frame of where you clicked it will be raised or lowered to your mouse position Page 261 AUTOMATION January 8 2013 Drawing Drawing allows you to create automation data using the mouse To begin drawing click the Draw button Now click and drag on any selected track to create or replace automation data Undo Automation changes made by editing or redrawing can be undone by pressing the Undo button An unlimited number of undo steps is provided The Auto Curves Menu When you press the Auto Curves button a menu is displayed in the Pad Note selection in this menu is based on Edit selection i e tracks selected while Edit menus were active not M
264. ment only of the destination Bus See Stem Assign on page 183 If you are using a link group to control a premixed stem which is delivered in a different channel order it may be necessary to edit the track order on the disk recorder or to change the input patching of the feeds if the stem is played in off an external device Link Group Features Linking feeds in link groups has the following effects e Selecting one member selects the entire link group e There is only one fader for the group When the group is created the group master fader adopts the level of the first fader in the group When the fader is adjusted the member s fader levels are offset by the amount the master fader is moved in dBs e When a group is created the master pan control is centred The Spread and Rotate controls become active when the link group master is called to the Master Fader These pan parameters offer unique and flexible panning controls to multichannel link groups See The Spread Control below e When the group is created the In Line Panel and Channel Panel controls adopt the position of the first feed in the group When a rotary control is adjusted the controls of the members are offset by the amount the master control is moved Switch controlled parameters display the current setting of the first member in the group Pressing a switch with a toggled value e g Mute On Off will toggle the master s value and set all other members to that
265. meter enters Write or Trim when you touch it and returns to Read when you release it using the Glide Out time this is set on the utils menu Setup Megamode Programmed Automation The entire automation system can be punched into record at which time all enabled mix items will start to write automation data This can be done manually or automatically The Punch Menu All the commands described in this section can be found on the Punch Menu This is a new menu in Version 3 1 software found in the Mixer Megamode Page 247 AUTOMATION January 8 2013 Manual Punch In The In and out keys can be used to enter and leave automation record The keys can be pressed while the transport is in stop or PLAY to manually drop in or out of Write or Trim if selected on the enabled mix items Automatic Punch In Summary You can punch in and out of automation record at pre defined In and Out points The basic steps are Step 1 Set the In and Out points Step 2 Make them active Step 3 Perform the punch explicitly using Punch or implicitly by playing over the active points Details To set In and Out points Step 1 Select the Mixer Megamode and press the Mix On button to turn on automation Step 2 Move the transport to the required In point and press the From key to capture the In point The In point timecode location is displayed in the Pad when the Mix Menu is active Step 3 Move the transport to the required Out point and press the To key
266. meter graphic Stereo Compound Meters The system offers a new compound stereo meter including PPM and Loudness metering as well as Phase indication To enable it click setup Meters View Compound Stereo Meter Now you will see the new meters if you are using the new Evo Mixer Screen Mixer Screen see above and on the ILP2 screen if you have one It will only be present if your Main bus has stereo format The Loudness metering has stereo LEQ meters and a mono LU meter The blue and white numbers give running reports on level according to ITU R BS 1770 standard known as LKFS They represent the subjective loudness of the audio program The right number gives a rolling average over 10 seconds and the left number gives an average over the entire length of program i e since you started playing The long term average level ignores anything below 18 dB so it won t go down when the system is in Stop You can reset the long term average by clicking the left number Note that readings amongst different brands of meters commonly differ because there are no agreed standards for some metering characteristics In particular the integration time of a meter which represents the length of time signal needs to be at a particular level before the meter reaches that level and the decay time when the level drops are not defined as standards For this reason the Fairlight meters may not match the levels shown by other meters Page 294
267. mic range e g long form Settings for the loudness component include RMS Window The length of the momentary sliding window in ms Target Reference in LKFS Short Window The length of the short term sliding window meter integration time in seconds Integrated Gate An optional Gate can be applied to the Infinite programme integration The blue numbers give running reports on level according to ITU R BS 1770 1 standard as a referenced LKFS value LK They represent the subjective loudness of the audio program The right hand number gives a rolling average over the defined short term window length and the left hand number gives an average over the entire length of program i e since you last reset the meter You can reset the long term average infinite integration by clicking the number The long term average level can additionally have a gate applied in the meter preferences in order to allow it comply with the R128 EBU Standard Page 295 PYXIS TRACK January 8 2013 Pyxis Track Introduction Pyxis Track is Evo s built in video disk recorder and editor It can import files of many formats and export to many formats Some of these formats require special licences to operate See below for import export information Creating a Pyxis Track Before using Pyxis Track a video track must be added to the project This can be done in two ways e When creating a new project select the Add Pyxis Track checkbox shown bel
268. mode on the Evo surface Press the Faders To button Select from the available functions that appear on the Evo buttons Press the exit button The OLED display names the function you are controlling with the fader Note that the Mute button always follows the fader function if that is possible For example if the fader is controlling the send level to Aux 1 the Mute button cuts that send But if the Fader is controlling Record Level for the track the Mute button has no function Faders To You can also change fader function using the Evo Center Section The Faders To menu allows the channel faders to be assigned to one of a number of feed parameters Press the Faders To key to toggle the fader between its normal function and the function selected in the BLUE Faders To setup menu The faders will snap to the level of the selected parameter on each channel All other controls on the Channel Panel continue to function normally To select the Faders To function follow these steps Step 1 Hold down the BLUE key and press the Faders To key to display the Faders To menu Step 2 Press one of the menu soft keys to select one of the following functions Input allows the faders to control the signal level prior to the disk recorder ina track feed Page 216 MIXING January 8 2013 Direct Output the faders control the direct out level of each feed Boom Level the fader controls the Boom level for each feed
269. monstrated in How To Setup For details of the other modes and button hold down the xpilain key and press the button for which you would like some Xplanation Page 23 THE XYNERGI TACTILE CONTROLLER January 8 2013 Record This is the place to do your recording Selecting tracks in this megamode Arms them for recording but only if they have something to record i e a patched input signal The ADR menu is also here It s a great way to manage a post sync session or any other list of recording tasks This is described in its own chapter starting page 82 For details of the main recording commands see How To Recording For details of the other modes and button hold down the xpilain key and press the button for which you would like some Xplanation Monitoring This megamode is for setting up your monitor system Much of this is setup at installation but there are also controls for setting up the monitors for a particular session and switching quickly between different sources and surround formats Speaker icons allow you to mute any of the current speakers For details of the main monitoring commands see How To Monitors For details of the other modes and button hold down the xplain key and press the button for which you would like some Xplanation Project The Project Megamode is for file handling This is where you create load save and delete your work files For details of the main commands see page 319 For deta
270. more about megamodes on page 23 Modes Mode keys are always teal in colour A mode is a specific group of functions Each mode has a soft menu of commands that are displayed on the Soft Keys Other Picture keys may change when a mode is selected For example the cut mode causes display of the cut clip cut head and cut tail keys at the left of the Jog Wheel Modes are also known as menus because of their soft keys e g cut menu or mix menu To find out what a mode does hold down the xplain button while pressing the mode button Toggles razor A toggle chooses between a pair of options usually On or Off Some toggles are actually triggles i e they choose amongst three options Toggles are always blue in colour Page 20 THE XYNERGI TACTILE CONTROLLER January 8 2013 Path Keys UE Track 2 Path keys are used to select or deselect signal paths Their colour changes depending on the mode being displayed and the status of the path For example they show dark or light brown in Mute mode dark or light green in Solo mode and red or dark blue in Arm mode Paths include Tracks Lives and Buses Main Sub Aux and MT Naming Paths Path keys show the name of the path note Track 5a in the illustration You can set your own name for paths using the Name Path function see page 53 By default the path keys will show the names you have given but you can also choose to show the system name Track 1 Live
271. mp there Next time you use a Jump key it will use the same target unless you change it Variable jumps by the number of frames shown next to the word Variable To set the Variable parameter press its soft key and type in a number onthe Numeric keypad or use the Jog Wheel Release the Jump Key when ready to accept the value Bar Jumps by the length of one music bar To set bars and tempo use the menu Setup Bars and Beats Setup To display bar lines over the Edit Screen use the menu View Timescale Bars and Beats Point Head Tail or Sync Point of a clip on any selected track The Sync Point is placed in a clip just so you can jump there To set the sync point locate to the place in the clip where you want it and use Trim Sync softkey gt Enter in the Editor Megamode Point or Fade Head Tail Fade Point or Sync Point of a clip Mark stored timecode location in the Project Note Mark can be selected with Point or with Point or Fade Jump overrides The following key combinations extend the Jump functionality ctrl Jump jump to next or previous Mark stored timecode location in the Project Shift Jump jump to next or previous Point Head Tail or Sync Point of a clip on any selected track ctrl Shift Jump jump to the beginning or end of the Project Range Jump jump to the Head or Tail of the Range a Range must exist for this to work Jump i jump by one second Jump 2 jump by two seconds and
272. n Acceleration Overview Normal cut and paste can go much faster using modifier keys The modifier keys are ctrl SHIFT Trackt and Zoom To increase your speed practise using them with your left hand while your right hand uses the Jog Wheel and the Clip Head and Tail keys Get Ready Press the green Editor button Press the cut button to access the Cut menu Press the range button until it is OFF Operation Getting the right location track selection and view use at least half of your editing time This can be speeded up as follows Jog Speed hold down ctrl or SHIFT or both to jog ever faster Track Selection hold down Track up down while jogging Time Zoom hold down Zoom while jogging Track Zoom hold down ctrl and Zoom while jogging Locate the transport so that the cursor crosses the middle of a clip Make its track the only selected one If necessary use the Bank key The target clip should now be the only red clip on the screen Red means ready to edit Hold down Trackf and press cut clip head tail Keep holding while turning the Jogger Wheel to move to another track Release Track to drop the cut clip Press and hold cut clip Jog forward and release cut clip to drop the cut clip You can do the same with copy slip and trim These moves may feel awkward at first but remember your first mouse click and drag With practice you ll become a virtuoso editor Tactile Editing Detailed Description
273. n Point the place where the Fade In is completed e Fade Out Point the place where the Fade Out starts e Fade Curves the shape of the Fade In and Fade Out e Clip Level a single level value for the clip e Clip EQ a four band parametric equaliser for each clip Page 90 EDITING January 8 2013 e Also clip Name Colour Grouping Multi channel format etc Other Clip Types Video Clips Video clips are much the same as audio clips but have fewer editable properties e Head Trim the first audio sample of the media file played by the clip e Tail Trim the last audio sample of the media file played by the clip e Clip Sync Point one of the clip s audio samples is locked to a timecode position e Fade In Point the place where the Fade In is completed e Fade Out Point the place where the Fade Out starts e Also clip Name The properties above can be edited by the same methods as audio clips and at the same time For these edits selecting a video track makes its clips into targets for editing They are fully described in the chapter Editing Methods There are two editing methods commands and mouse dragging Commands are further divided into tactile edits button pressing and Jog Wheel turning and mouse edits menu items and toolbar button clicking This chapter describes tactile editing while the next one describes mouse dragging and mouse edits Editing Tutorial This section takes you throug
274. n be affected Page 121 EDITING January 8 2013 To trim the level of a clip Step 1 Select a track and move a clip under the cursor Step 2 Press the clip level button if not already on Step 3 Press and hold the Jog Level soft key Step 4 Turn the Jog Wheel or type a number on the Numpad this will trim the clip level up or down Alternatively press the 2 dB or 2 aB buttons a number of times to trim the clip level Note Clips on multiple tracks can be amplitude adjusted at the same time If a range is present all clips wholly inside the range will be affected Jog Level and Jog Display A quick way to change clip level or display amplitude is to use the Jog Level and Jog Display buttons These appear next to the Jog Wheel whenever the Clip Level menu is active To quickly change clip level Step 1 Start with the cursor touching a clip whose level you wish to trim Step 2 Press and hold the Jog Level button Step 3 Turn the Jog Wheel to adjust the level trim displayed in the dialog box At the same time the clip waveform will change amplitude Step 4 When ready release the Jog Level button to apply the level change Note Clips on multiple tracks can be level adjusted at the same time If a range is present all clips wholly inside the range will be affected To quickly change clip display amplitude Step 1 Start with the cursor touching a clip whose amplitude you wish to trim Step 2 Press and hold the Jog
275. n is displayed to the left of the Jog Wheel Press the rec range button to do an automatic recording of the range Note You can also access rec range by holding down the Record button This shows a menu of options in the Pad Recording and Editing Multiple Takes Introduction In many situations we need to record multiple takes of the same audio in sync to picture or existing audio Examples are Post Sync dialog ADR Foley and music recording Dream II software allows you to record multiple takes on a single track then easily audition and edit them into shape Recording Multiple Takes When recording a section of audio in sync with picture you can punch in and out on the fly or use a range to set the start and end point of the recording To do this use the Auto Recording methods described on page 78 To record more takes of the same audio the easiest way is to use the Record Again function To do this use the method described on page 77 Viewing Takes To see all the layers of audio on your tracks turn on Display Layering This can be done in an number of ways as follows e Double press the Takes button in the Editor Megamode e Click the Layering button in the Toolbar Page 78 RECORDING January 8 2013 Layering button e Select view Display Layering from the Menu Bar The Takes Menu The Takes menu allows you to bring different takes to the top of the stack for auditioning and editing e To display the Takes
276. nd Off The procedure above turns Mixer Set on and puts itin Variable mode That means any change to channel selection will add or remove a fader from the surface If Mixer Set is in Variable mode toggling the 0 in Fader Sets OFF will put it in Fixed mode This means it keeps the current selection of channels but does not respond to any further changes in selection This can be very useful for putting channels next to each other but only selecting the ones you want to edit Choosing a Fader Set even re asserting the one that is illuminated on the Numpad puts Mixer set in the Off state Call button For each fader the Call button puts that channel into the Pad It does not select the channel for editing or mass channel mixing operations Its action is NOT equivalent to pressing the channel s selection button on the Evo surface because e The selection button selects the channel as well as calling it e The selection button can TOGGLE the channel on and off The CALL button makes the channel the current Pad channel and only asserts does not toggle Auto button The Auto button changes the automation state of the channel that owns the fader strip It is equivalent to the Auto button on Constellation fader panels If Preview is on the channel is toggled in and out of preview Otherwise if Write is selected the channel is toggled into and out of Write or if Trim is selected it is toggled into and out of Trim PanPot F
277. nd pans and fades down to the location of the window As this is occurring a pre mixed surround field for the exterior can be growing from the rear speakers and spread out to the entire speaker system as the exterior shot is established Rotate Control Rotate controls the left right and front back pan controls to rotate a single feed around the centre of the room Adjust the front back pan to reduce the radius of rotation Use rotate on a link group to rotate a pre mixed surround sound field with respect to the listener s position This effect is the audible equivalent of panning a camera where all the elements in the visual field are subject to the same angular movement The rotate control range is from 0 to 359 degrees When rotation is applied the panning of each link group member is offset in the direction of the rotation Rotate can be used in conjunction with spread and link group pan to create more or less audible panning effects for the entire surround field When a link group is created with default pans spread is set to maximum divergence is set to minimum and rotation is set to zero Boom The Boom control is available when the selected signal path is feeding a 5 1 bus or greater whose surround format includes a sub bass or low frequency effects LFE channel The boom level is independent of the panner position By default the boom element of a link group is assigned only to the boom element of assigned buses Boom
278. nd this is recorded into a stereo media file Single MultiChannel File all selected tracks A single file is created with multiple linked media one for each track in the export Note The description field inside a BWave file is preserved when a clip is exported as BWF The default value for the BWF originator field can now be specified See Setup gt General Preferences gt Options Exporting Video You can export the video straight from a project and automatically combine it with your choice of audio from a project To do this choose click on the File Menu and choose Export then Video This box pops up Page 337 PROJECT AND FILE MANAGEMENT January 8 2013 Q S alia toe aaaea M Step 1 Choose the video format into which you wish to export Step 2 Choose whether you want to export the whole project or a selected range Note to export as a Quicktime file you must have the latest version of Quicktime installed Note some file types require licences for export Please consult your Fairlight distributor for details Export Cue Sheet You can export the clip data from your project as a comma separated CSV file To do this Step 1 Issue the command gt gt Step 2 Use the Save dialog to select a destination for the file Step 3 Press EDL Management Introduction EDL Management supports three activities associated with EDLs Edit Decision Lists produced by other editing products Capture records the mater
279. neath a cross fade between the two will automatically be induced Cross fade parameters can be modified with the soft key menu functions Induced crossfades are complementary that is to say the clip underneath is faded with exactly the opposite shape to the clip on top If the clip underneath already has its own fade overlapping the time of the upper clip s crossfade then no induced fade occurs In the following illustration clip layering has been turned on double press the takes button or View Display Layering Induced crossfade note lower curve No induced fade lower fade overlaps Fade Options Layers On all layers is not supported in Fade Mode Razor razor iS not supported in Fade Mode Soft Edit Every clip has a small fade at the head or tail to make it sound smoother This is called a Soft Edit and you can control its length To do this click the Setup Menu on the Track screen and select General Preferences In the dialog that is displayed click the Playback tab Step 1 Click the Setup Menu on the Track screen Step 2 Select General Preferences Page 120 Step 3 Step 4 EDITING January 8 2013 Click the Playback tab Change the value for Soft Edits The current value for Soft edits is shown in the Audio Options group A value of 72 samples is generally useful when the Project sample rate is 48 kHz but you may set this according to your own taste Creating Smooth Level Changes B
280. neral Live Sample Rate Conversion Fast High Quality Fast Puts a small load on the computer system but doesn t sound so good Very useful when there are a lot of clips to be sample rate converted or a lot of plug ins in the project Page 334 PROJECT AND FILE MANAGEMENT January 8 2013 High Quality Sounds good but loads down the CPU If you need good quality and have lots of clips to sample rate convert you can localise the media which performs the best quality sample rate conversion and re references the clip Step 1 Select the clips that need to be sample rate converted Step 2 Issue the command Process Localise Audio Use handles if the clip has been edited and might need to be re extended Select all clips using this media before localising and the system will only produce a single piece of media which they can all reference Export Exporting Audio You can export audio from a Project in the following formats Step 1 Step 2 Step 3 Step 4 WAV Broadcast WAV Aif AES 31 This consolidates your project into a file used by other manufacturers Select the clip or clips to be exported Ranges of clips can also be selected Click the File menu command above the Track display Choose Export then Audio Tracks Clips The following dialog box appears D FairlightAUProjects FarightaUProectst SSS m Rs ltiCit S J epore Gigs in beckaround j Mono Stereo files automatically choo
281. ng a mono source across left right and centre speakers in a 5 1 bus for example without allowing the signal to move into the surround loudspeakers The divergence control range is 0 to 100 At 0 the panner behaves as if the signal were a single point source When the signal is panned to front centre at 70 divergence the signal is sent at equal level to left centre and right loudspeakers The divergence control approximates an equal loudness contour as it adds signal to more loudspeakers As the control moves beyond 70 signal is removed from the centre loudspeaker or the loudspeaker closest to the pan target and progressively added to the other loudspeakers At 100 divergence there is no signal in the centre loudspeaker and the signal is distributed equally to left and right loudspeakers Two dimensional Divergence Two dimensional mode is useful for quickly spreading a signal to all loudspeakers or for contracting an effect from all loudspeakers down to a single speaker Two dimensional diverge includes front and surround loudspeakers As the divergence is increased towards 70 the signal is distributed to all loudspeakers Beyond 70 the signal is removed from the loudspeaker closest to the pan target For Link Groups divergence is applied to all members individually When a link group is created with default pans divergence is set to minimum Page 233 THE IN LINE PANEL ILP2 January 8 2013 The Spread Control The spread control
282. nnels Dynamics The Library page is shown above with EQ selected The EQ presets are shown in the upper left section of the window Presets Equaliser A library of 100 equaliser settings is provided Each equaliser preset stores all the parameter settings of the equaliser section on the signal path currently called to the Master fader Press the EQ soft key in the Library menu to select equaliser presets Dynamics A library of 100 dynamics settings is provided Each dynamics preset stores all the parameter settings of the dynamics section on the signal path currently called to the Master fader Press the DyN soft key in the Library menu to select dynamics presets Page 221 MIXING January 8 2013 Plug In A library of 100 Plug in settings is provided Each preset stores all the parameter settings of the Plug in section on the signal path currently called to the Master fader Press the Plug in soft key in the Library menu to select dynamics presets Channel A library of 100 channel settings is provided Each channel preset stores all the parameter settings on the signal path currently called to the Master fader excluding I O patching ALL Console A library of 100 Console settings is provided Each Console preset stores all mixer parameters for all feeds and buses All patching routing and name settings are also stored Default Console Template A special Console library file named default is used to store the de
283. no input the system will display the error message No input patched to Track To fix this go to the Patch page as described above in Patching Inputs and give it an input Once a track is armed use the Play and Record keys to punch into record Play Stop REW FF or Jog to punch out Arm or Disarm All Tracks To arm all tracks press the All Tracks button in the Record Megamode Only tracks with patched inputs will be armed To disarm all tracks e Hold down ctri and press the Arm button in the Record Megamode e Press the disarm ali button in the Record Megamode Record Monitoring Overview When a track is armed you can choose whether to listen to its input signal its playback signal REPRO a switched combination or nothing Press the green Record Megamode button to access recording functions The Arm menu will be automatically selected Page 72 RECORDING January 8 2013 To hear the effects of the monitoring changes you will need to have a track armed with an audible input connected to it If you wish to use the Oscillator as a source press the patch button then select the Oscillator at lower left Choose osc comms 2 for the oscillator or Noise for the noise generator Now select one or more tracks and click the Patch button on screen Press the patch button again to exit the Patch screen Monitor Soft Key Press the Monitor soft key to toggle between INPUT and the last other setting you chose AUTO b
284. nob and use the mouse wheel to change its setting Double clicking on any fader gain or aux send knob sets its value to 0 dB Mouse Wheel Control The mouse wheel can be used to control knob and fader settings This behaviour must be enabled first Step 1 Access the System Variables display by holding down shift and ctri then typing vV Step 2 In the Mouse Control group right side of dialog box enable Use Mouse Wheel The Mixer Screen must be in focus if the Editor Screen is in focus the mouse wheel causes zooming of the tracks To get the Mixer Screen in focus simply click anywhere on the screen For mouse wheel control of any fader or rotary knob in any of the Mixer Screen displays hover the mouse pointer over the control and turn the wheel Page 196 MIXING January 8 2013 For fine control hold down the SHIFT button while turning the mouse wheel Virtual Channel All other functions can be controlled using the DREAM II Virtual Channel shown below DREAM II Virtual Channel a l Track 2 E Dynamics Aux Sends Click on any switch Click on any knob Hover the mouse over Click and Click to toggle it and drag around it any box or knob and drag the and to to change its use the mouse wheel fader change value to change its value channels e To open the Virtual Channel double click a channel name in the EVO Mixer Screen screen In the above example we have selected Track 8 e To close the Virtual Chann
285. nother the macro trigger button itself is not recorded but all the keystrokes it plays back are Page 152 EDITING January 8 2013 To access macro trigger buttons during recording you must have the macro layout displayed somewhere If you started recording your macro with the macro layout on the Numpad it will still be there and you can press any macro trigger button you like But if you started with the macro layout on the Picture Keys it will have disappeared as soon as you started recording to make way for other modes and megamodes To regain access to the macro trigger buttons press the macro button but NOT the fixed macro button because that will terminate the recording You may now press the macro trigger buttons and record their keystroke output One final complication if you have been using the last paragraph i e you started with macro trigger buttons on the Picture Keys the macro button you pressed to access the macro trigger buttons will be recorded into your new macro Since your macro starts with the macro layout displayed this key will result in the macro layout being removed from the Picture keys when your macro runs To avert this problem add an extra press of the macro button at the end of your macro Or start with the macro trigger buttons on the Numpad Macro Names When macros are displayed on the picture keys their names can be seen This is very helpful for distinguishing them To name a macro d
286. nsport by typing numbers in the Numeric keypad or using the QWERTY keyboard Trim values can be positive or Page 115 EDITING January 8 2013 negative Note the Numeric Keypad must not be engaged for another purpose at the time check that its colour is dull yellow Step 4 Press the Enter key to apply the fade duration s NOTE Trim values can be positive or negative To type in a value like minus twelve frames you can use the Numeric Keypad type Minus then 12 or the other way round then press Enter Using the QWERTY keyboard you can use the Down Arrow to go from zero to 1 frame then type in a value to be used negatively Fade Shape A fade s shape includes the following parameters X Point this controls the percentage of the fade s duration when it reaches the Crossover Point X Level controls how loud the fade is compared to the full Level of the clip at the Crossover point Duration the total length of the fade in frames Duration is not really part of the shape but its control is close by Example Percentage 30 Attenuation 3 dB Duration 20 This means that the fade will last for 20 frames The crossover point will be 6 frames into the fade at which time the level will be 3 dB compared with full Level Adjusting Fade Shape To adjust the fade shape of the currently selected clip s Step 1 Press the x Level soft key or the x Point soft key Step 2 Press the fade head fade tai
287. nt control set is displayed Page 225 THE IN LINE PANEL ILP2 January 8 2013 In this example the normal layout offers Gain control and In Out buttons for Aux Sends 9 to 12 while the ALT layout offers left right panning and Pre Post switching for the same Sends Channel Mode In Channel Mode all 12 columns work on the currently selected channel providing a complete control set for that channel s EQ Dynamics Aux sends Pan and Path controls All controls work on the current channel From left to right Channel controls trim record level insert Direct out etc Compressor Expander Gate Limiter EQ Filters Aux sends Pan controls The ALT button is also used in Channel Mode expanding the range of available controls Master Mode All bus levels and mutes can be controlled from one ILP panel The compressor and limiter for the Main bus are also accessible as are the Talkback level and Monitor dim controls Plug in Mode The ILP controls the currently selected Plug in on the current channel The parameters are assigned automatically to the controls Page 226 THE IN LINE PANEL ILP2 Panel Controls Mode Buttons BLUE is used to access the lower of any pair of functions e g U1 U2 U3 Also hold and touch ILP controls to set default values for some parameters e g 0 dB for faders and aux sends Master displays all the system buses across the ILP u1 is an ILP layout that you
288. nts Shared Documents G Control Panel Designating Media Device When Evo is first started it displays a dialogue box requesting that a default project device be selected Select the devices Audio and Video you wish to use from the list of available drives To prepare the drive for use with Evo select Setup 3 Media and Project Management from the Evo main menu Select the device from the devices list and click on Convert to Media device Please also set the Device Info accordingly in most cases this is set automatically and does not need to be changed Dream II 15178721 Yes 0000000 R R Dream II Audio 212907624 Yes 500 Shared Yes 0000000 619719412 Shared Yes 0000000 Convert to Media device Set Device Info J View CD Drives Default Project Device C e Folder Page 327 PROJECT AND FILE MANAGEMENT January 8 2013 Click here for folder display To use a network connected device first create a mapped network drive or folder in Windows Explorer This can now be selected in the device panel and converted to a Evo Media Device as above Please note that audio and video files can only be played from a designated Media Device If you try to play files from any other disk you will receive an error message Creating New Projects Once Media Devices have been set up on your Evo system for Audio and Video you are ready to create a New Project To do this Press the Project ke
289. o the following Step 1 Hold down the BLUE key and a macro button The Edit Macro layout is displayed on the Picture Keys Step 2 Select the macro you want to name by pressing its macro trigger button Step 3 Press the name soft key The QWERTY keyboard is shown on the picture keys Type a name for the macro To remove the existing name press Del When you have the name you want press Enter Or press Exit to escape without changing the macro name The picture keys can only display short names It s best to use no more than two words of up to 5 characters in most cases some letters are thinner than others Macro Colour Groups You can set the background colour of your macros so that they form functional groups The system provides 10 colours for this purpose To set the colour group of a macro do the following Step 1 Hold down the BLUE key and press macro or Key 7 The Edit Macro layout is displayed on the Picture Keys Step 2 Select the macro whose colour group you want to change by pressing its macro trigger button Step 3 Press the group soft key a number of times Each time you press this soft key the macro background changes After ten key presses it returns to its original colour Keep pressing the soft key until you are happy with the colour There is no need to press Enter Page 153 EDITING January 8 2013 Editing Macros Editing macros is definitely for technically minded people Macros are stored in a file called
290. of the edit You can prevent part of this by changing a preference in the Setup gt General Preferences dialog This is found in the menus at the top of the Edit Screen General Preferences i x Options Audiobase Playback Video Capture Projects Audio Plugins Number of Backups 5 Autosave Si Load Last Project on Startup D DR2 Options Il Restore Previous View on Project Load m Undo Redo Options F PR head Follows Undo CM Zm Level Follows Undo Cancel Apply Page 18 THE XYNERGI TACTILE CONTROLLER January 8 2013 Note Undo applies only to audio editing not mixing or automation moves Zoom Hold down Zoom then turn the Jog wheel or press the and buttons to adjust the amount of time being displayed horizontally across the Edit screen A specific Zoom value can be obtained by holding down zoom and pressing a Numpad key combination making a number between 1 and 20 the releasing zoom The Zoom value is shown at the bottom of the Edit Screen Ea Zoom 15 00 00 02 06 Zooming in and out can also be done using the wheel on your mouse when the Edit screen is in focus if not click somewhere on it Simply pressing and releasing Zoom toggles between your last two zoom settings If ctrl and Zoom are both held down the Jog wheel adjusts the number of tracks being displayed in the Edit screen Similarly holding down ctri and turning the mouse wheel makes this adju
291. of the screen which can be useful for seeing more of the incoming audio for example But if you want to get it exactly back to the center use the command setup Reset Playhead Cut and Paste Whole Clip To cut and paste a clip Page 102 EDITING Step 1 Select a track and move a clip under the cursor Step 2 Press the cut key if not already selected Step 3 Press the cut clip key Step 4 Select another track and or move to another location Step 5 Press the Enter key to paste the clipboard Page 103 January 8 2013 The clip is red because it is touching the cursor We see the clip s ghost It s a picture of the clipboard ready to be pasted in The ghost shows where the clipboard contents can be pasted The clip is pasted EDITING January 8 2013 Head This time we ll only work with the Head of the clip That is the part before the cursor Step 1 Select a track and move a clip under the cursor The clip is red because it is touching the cursor Step 2 Press the cut key if not already selected Step 3 Press the cut head key Only the head goes on to the clipboard Step 4 Select another track and or move to another location The ghost shows a head shaped clipboard ready to be pasted The original tail is now Blue because its track is not selected Step 5 Press the Enter key to paste the clipboard Page 104 EDITING January 8 2013 The clipboard
292. off switch pre post switch and level control Step 5 Select one or more individual meters to patch in the upper right of the screen Step 6 Click the Patch button This patches the sources to the selected meters and saves the Meter Set Whole Bus Patching Expandable If you patch a whole bus to the meters in one gesture it becomes resizable One gesture means that you selected all the bus elements and the same number of consecutive meters and clicked Patch Resizable means that if you change the bus format it will grab as many meters as it needs pushing the next signals to the right when it expands potentially off the end and pulling them to the left when it contracts Page 292 METERS January 8 2013 If you leave blanks to the right of a resizable bus it will consume the blanks before starting to push other channels to the right Using the Meters Menu Step 1 Press the Meters button in the Setup Megamode Step 2 Press the assign meters Soft key This displays the Patch I O page Step 3 Use the Patch I O page as described in the previous section Peaks The numeric peak levels displayed on the mixer display bus meters have a variable threshold The level at which these values are displayed can be set in the C Program Files Fairlight FMC Data System_Variables txt file Edit the following line in the file PEAK_DISPLAY_LIMIT 950 The value is from 0 to 1000 in 0 1dB steps where 1000 full scale level
293. oin Allows you to carry written values from one place to another Each time the system comes out of Write mode it remembers the values of all parameters that were enabled Now if you locate to any other time and press Join the system will immediately go back into Write with the remembered values set This is useful for setting a scene or section balance as follows Starting writing automation anywhere ina scene or section Adjust parameters until you are happy with the sound Now go back to the head of the scene and press Join then Play Jog Mix Allows automation to be read and written in transport modes other than play As long as the transport moves forward the system will continue to write See more below Auto Curves Hold down this soft key and touch a parameter control to display its curve for the selected tracks Press and release to display the Curves menu See Automation Curves below for details Preview Menu Opens a menu with Preview commands See below for details Copy and Paste Mix The Copy Mix and Paste Mix soft keys are used for mix copying IT ALWAYS WORKS WITH A RANGE Multiple channels source channels can be copied and multiple pasted destination channels Offsets may be used The rules are as follows e Only enabled parameters are pasted e The copied channels are pasted into the selected destination channels in numerical order For example if the source channels are 1 5 6 and the destination chann
294. ommand jog REW gt jump left jog FF jump right REW 0 gt jump left one frame FF 0 gt jump right one frame REW 1 jump left one second FF 1 gt jump right one second REW 2 jump left two seconds FF 2 jump right two seconds etc Review Jumps back by a few seconds then starts playing You can control the number of seconds that it jumps back hold down Review and press a Numpad key Jump Keys These keys are used to quickly move the transport forward or backwards on the timeline to Jump Targets These may be the next previous clip head or tail point fade point and or mark or toa specific clip name While the Jump key is held down you may press a Numpad key 1 2 etc to jump by that many seconds See more about Jumping on page 62 Page 17 THE XYNERGI TACTILE CONTROLLER January 8 2013 From and To These keys are used to define the start and end times of a Range A Range is a marked period of time in the project Ranges are used for e Editing the range can be cut copied erased nudged and more e Recording a range can be automatically recorded e Mix Automation a range can be filled with automation values or isolated for a Write pass e See more about Using Ranges on page 92 Undo Redo Allow a large number of audio edits to be undone redone When you issue an Undo Of Redo command the system will revert to the timecode location zoom setting and track selection at the time
295. on when you want to isolate a particular set of sounds You can solo them to make sure you re hearing the right thing then mute them to make sure the sound is not somewhere else as well To move channels from Solo to Mute Step 1 Engage the Solo menu by either holding down the solo button or pressing the sEL button and then the Solo Menu button Step 2 Select some channels to be soloed Step 3 Hold down the Solo Menu button Two new buttons appear beside it Page 49 Step 4 CHANNELS January 8 2013 Breck P Fack Trac Track Track 19 20 Track Track solo swap S mute menu mute en menu Press the Swap Mute button The Mute Menu appears and the channels that were soloed are now muted These channels are the ONLY channels muted if there were other channels muted before they no longer are To move channels from Mute to Solo Step 1 Step 2 Step 3 Step 4 Engage the Mute menu by either holding down the Mute button or pressing the sex button and then the Mute Menu button Select some channels to be muted Hold down the Mute Menu button Two new buttons appear beside it Press the Swap Solo button The Solo Menu appears and the channels that were muted are now soloed These channels are the ONLY channels soloed if there were other channels soloed before they no longer are Solo and Mute to SEL Evo allows you to transfer your solo or mute selection into an edit or mix selection This is useful when you
296. on on Press Play to move transport Touch the control of any enabled parameter on any signal path It enters record and starts writing automation You can touch a control and put it into record before or after pressing play The rest is the same as the normal Touch modes Page 241 AUTOMATION January 8 2013 Enabling Mix Items Typically mix items are recorded a few at a time often only one To put a mix item into automation record we must first enable it then put it into write or trim this is just like arming tracks before recording audio on to them Enabling mix items requires enabling their parameters and their signal paths as outlined below Enable Parameters Using the XCS Param Enable Layout Parameters can be enabled by pressing the blue Param Enable key and selecting one or more parameters Some of the parameters have red triangle in the button That means they control more than one parameter For example the EQ 1 button controls the following e Band 1 Gain e Band 1 Frequency e Band 1 Q factor e Band 1 Shape e Band 1 Range e Band 1 Gain e Band 1 In Out To toggle the enables for all these controls simply press and release the button To access the controls individually hold down the button and select from the individual parameters that appear in the top row LR FB Pan Pan Pan group partially Hold down buttons with red enabled triangles to display individual parameter enables Press Exit to le
297. onitor Speaker Sets 000 284 Choose Monitor Speaker Outputs 5 285 Change Monitor Listening Format 285 Configure Monitor SOUrCES cccceseeeseeeeeees 286 ALT Switches ccceeeeeeeeeeeeeesaeeeeeaaeeeeeaaees 286 MET ERS 3sctcscc sett ca cities ieee ceeds 288 Introducti ON wird nies edi iain 288 Master Screen MeterS ccccseeeeeeeeeeeeeeees 288 Meter Sets ccs cctsvecciescniseieseecaveteaccnieadeanvic 291 P GKSs csssavet setae vectuavtte desi toste essen A 293 Stereo Compound Meters cccccseeeeseeeeeaes 294 Parameter Setup cccceeeeeeeeeeeeeeeeeeeaaeeeae eee 295 PY XIS TRACK csssetces ccs 296 Introducti Om erarnan anien ai aY 296 Creating a Pyxis Track eeen 296 Adding a Second Pyxis Track ece 297 Hiding and Showing the Video Track 297 Loading Video into Pyxis Track 299 Capturing Video into Pyxis Track sses 301 ENGhYpU ON aeae tung a a aE 303 The Pyxis WiNGOW sssssasssssessnnnnnnnnnnnnnnnnnnnne 304 Watermarking ccccsscceeessseeeeeseeeeeeaseeeeeaas 308 Editing the Video Track ssceeeeesseeeeeeeeees 309 Using Pyxis Track as a Machine 309 The Pan Theatre ccccceeeeeeesseeeeeeaeeeeeeaaees 310 MIDI TRACK Sv sicssceccaccstdivescasstectenccecsis s 313 Introducti oasian e enaa 313 File Compatibility IMPORTANT ssc 313 Convert Tracks to MIDI ccsseeeeeeseeeeeeeeee 313 Patching to MIDI Tracks cssc 314 Metronome ceeeee cece ee
298. or not supplied Plus additional optional components e Extra audio I O boxes SX 48s loaded with analog and or digital I Os e MADI interface cards Graphics Recorder Editor Display Features The graphical display provides status information clip and waveform display and visual feedback for editing functions A number of optional windows can be selected displaying a small mixer the video playback Video Locators or a combination of these To select these use your mouse with the View Menu above the screen Page 7 Range display p Dg Li Evo OVERVIEW January 8 2013 Available Pyxis Track Edit toolbar recording time Smart Pane Zoom range Timecode video on current drive position Kalimba flowers My garden Cee OM lt i gt Lule o Ao Seo A eee 04 40 00 Kamea manay Raima 10 08 Kalimba K limba Kalimba Pyxis Mixer Track Panel Arm Solo Mute Select Fader Pan Automation Track and clip area window Smart Pane This area contains a number of different displays at different times It may show Meters Clip EQ parameters Fade parameters and so on Each editing mode automatically displays its appropriate Smart Pane You can also force the display of any pane or no Smart Pane at all by selecting gt at the top of the Edit Screen Range Display This area contains three timecode values associated with Editing Ranges They are respectively the Range In time Range Out
299. or define a Range of clips Step 3 Press the edit soft key Step 4 Select the appropriate EQ parameter This can be done using the Numeric keypad as shown in Choosing a Parameter below or by clicking in the appropriate field in the EQ display above Step 5 Adjust the parameter using the Jogger Wheel Changes are heard in real time Step 6 Repeat steps 4 and 5 as often as needed Step 7 Apply the changes by pressing the Enter key or by clicking the Apply screen button Each equalisation band has three parameters you can change They are centre frequency of the band gain cut or boost at that frequency and Q factor sharpness of the band or whether it is a high or low shelf Note When changing EQ frequency hold down the sxirz button for fine numerical adjustment EQ display Andew2 2 X Left side of display When a clip s EQ is being edited the dots change from black to red as shown here They can be moved with the mouse changing frequency and gain values These values are updated in the value grid as you move the mouse You can also hear the changes in the audio if it is playing after a short delay Page 123 EDITING January 8 2013 Range Filter Type Frequency Gain Q Factor Enables Right side of display The value grid shows the parameters of the EQ being applied to the clip or range of clips Clip EQ Parameters Band There are four EQ bands that you can apply They are given the names commonly used
300. or press the RECORD PLAYBACK soft key until its label is PLAYBACK This puts the ADR system in Playback mode Step 2 Select a cue The transport will locate to its In Time Step 3 Click Cycle This will cause the transport to drive through the In and Out points once playing back the audio Note When the ADR is in Playback mode double clicking a cue will select it and initiate a playback Cycle Page 87 ADR January 8 2013 Pre Record Pre Record allows you to enter record a little earlier than the time of the cue This is useful when recording artists that tend to anticipate the entrance The streamer will still indicate the cue in time but you are able to capture the audio a little earlier Early In Early In can be clicked during the preroll of a record cycle It causes recording to start immediately There is also an early in Soft key Rec Out If desired the system can ignore the Out time of the cue and just keep recording until you exit manually using Stop Jog Rewind etc The Rec Out soft key can be set to PROG programmed exit or OPEN keep recording until manual exit The Rec Out screen button does the same When selected blue the record Out time will be obeyed When unselected grey manual exit will be used Keep Playing At the end of a cycle you may wish to keep playing in order to hear the next section of track Pressing the keep playing soft key at any time during a cycle will cause the postroll to
301. or summing feeds to be recorded to disk or other I O Bus Element One component signal of a bus e g left right centre or surround Bus elements are automatically allocated to individual buses as they are created Each system has a finite number of bus elements which will limit the format of buses as they are created A full sized Evo has 72 available bus elements allowing for example 1 X 5 1 main bus 4 x 5 1 sub buses 2 X 5 1 auxes 12 X stereo auxes and 3 multi track buses Anything Missing If you find there s some aspect of Evo that is not explained or Xplained adequately please let us know You can email me andrew fairlightau com With new releases of software you ll sometimes get a new version of this manual that adds more information You can also download the latest version from Fairlight s website www fairlightau com The Xplain System Xplain is Xstream s built in Help system It s great to use because you don t need to clutter your desktop with books like this one and it gives you help about exactly where you are right now Xplain places text in the Pad text area Sometimes this covers up the feature that it is Xplaining it usually apologises Xplain has two systems Xplain Button Xplain Button gt hold down the xpiain button and press any other button on the keyboard to get a description of what it does This includes picture keys fixed keys and soft keys Xplain How To Xplain How To
302. ormance Statistics Transport Window Wi Hours MinjSec Frame Hours Min Sec Frame SubFrame Hours Minj Sec Frame SubFrame Samples Feet Frames 35 mm Feet Frames 16 mm Hours Feet Frames 35 mm Hours Feet Frames 16 mm Bars and Beats Timecode Display Bar Beat display Positions can be displayed in bars and beats To enable this use the Edit Screen menus and click View gt Timescale gt Bars and Beats The Edit Screen shows dark bar lines and light beat lines Page 43 CHANNELS January 8 2013 To set up parameters go to Setup gt Bars and Beats Setup This displays a dialog with the following parameters Tempo i f j4 Time 4 4 l 4 H Origin time 00 00 00 00 Set 1 1 1 Snap to fije 1 BPM from Number Bars Close Tempo Expressed as beats per minute The box on the right allows you to choose the beat value used in specifying the tempo In some cases you may wish to specify beats differently from the time signature Time This is the time signature expressed in the usual way Origin Time This is the timecode where the first bar starts To set it locate to the timecode of the first bar and click the button labeled Set 1 1 1 You may move the transport earlier than the first bar which is negative bar territory Note there is no zero bar the number goes from 1 straight to 1 Snap Snap editing is used when dragging clips with the mouse You may se
303. ors if Available Bumt in Timecode x1 BITC Transparent Avid OMF View Both Fields Small View Display Both Fields Field 1 Field 2 Either Large View Display Both Fields Field 1 Field 2 Either Pyxis Pro PAL NTSC Jog 2 Fields Field 1 Field 2 Either Compensate for Blackmagic 2 47 NTSC Driver Bug Display Video Underun Message Show Special Video Info Auto Fades microseconds V No Media Soft Edits 1500 V Media Offline Video Playback Advance Delay Compe Vga Video Window The control allows you to advance or retard playback by a number of frames While in stop or Jog the correct frame is output but in play the offset is activated You can have a separate setting for your Decklink output and your VGA output since they are likely to feed different monitors Page 298 PYXIS TRACK January 8 2013 Loading Video into Pyxis Track There are two methods for loading video into Pyxis Track In both cases the video track must be visible on screen Importing a Video File Step 1 Step 2 Step 3 Click here to browse for the file you want to import Make sure that a Pyxis track is displayed If not see above Click File gt Import gt Video File The following dialog box is displayed AVI AVI_Bars_PAL_8 Bit avi ms M JPEG A Quickt Uncompressed DY25 Mpeg The following file types can be imported using this method Quic
304. ort Transport buttons are provided in the Solo theme To select this click Setup General Preferences gt Options Themes Then select Solo from the drop down menu With this theme active you may click on the transport buttons at the top of the screen a menm N Clicking REW and FF multiple times will increase the speed of movement each time Clicking the Loop button when a range is present will cause the transport to loop the range if any is present The spacebar on your qwerty keyboard can also be used to toggle between Play and Stop Dragging and Scrolling the Transport Very fast locating is possible using right click and drag horizontally anywhere inside the track area of the Edit Screen To scroll the tracks up and down right click and drag vertically anywhere inside the track area of the Edit Screen Srp wth s i i i Ai idi dl ieee Right click khi dhaaniaa da ahaa iad Ak aA ha aai aadik ala naa Kalimba t sr and drag vertically to scroll the tracks Kalimba sr Right click and drag horizontally to move the transport The tracks can also be scrolled using their scroll bar at the right If the Play Head is unlocked you can locate the transport just by right clicking anywhere in the track area or the timeline above it Note Unlocked Play Head means that the clips are stationary while the Play Head moves left to right To unlock the Play Head click setup Locked Playhead until the tick is remo
305. ort on Page 132 Your project Bin described in the next section Your Clipstores described in the next section You can filter the display in the following ways Clip Bins Type a sequence into the Search field The display will show only clips whose names contain the sequence Select the Under Playhead check box The display will show only clips touching the cursor This can be extremely useful for working with multiple takes for example Select the Only Offline Clips check box This can be useful for finding missing clips by seeing which files they were originally referencing Every project now has a Clip Bin This is a place to store clips not being used at the moment They are copied directly to the Project Bin using Clip Copy Clips to Bin Page 162 AUDIOBASE CLIP SEARCH CLIPSTORES January 8 2013 OR Clip Cut Clips to Bin The command will target the currently selected clip s If a Range is present only wholly included clips will be copied To access them open the Clip Search dialog in one of the following ways Press GoTo gt Clip Click View gt Clip Search In the Clip Search dialog there is a checkbox for Bins When this is checked the dialog shows all the clips in the Bin which can be auditioned previewed and pasted in the normal way Note the Bin can only be seen by the project from which it was created ClipStores ClipStores work in a similar way to Bins but can be located anywhere on yo
306. ot controls LR Pan 1 button is solid blue while BLUE is held and alternative mode where the pot goes back to controlling the last used alternative parameter default FB Pan The alternative parameters are chosen using the Pan button in the Mixer Megamode next to the Proj Megamode button See PanPot Function below for details Pressing and releasing the 2 button while BLUE is pressed toggles between normal mode fader controls channel level 2 button is solid blue while BLUE is held and alternative mode where the fader goes back to controlling the last used alternative parameter The alternative parameter is chosen by holding down the Faders To button in the Mixer Megamode See Fader Function below for details If BLUE is pressed the 3 button enters fader mapping for the current fader set The ILP screens above all ILP panels display the Fader Mapping page which the user can touch to map channels to faders During mapping the corresponding fader set button flashes blue Pressing it exits fader mapping at the point reached by the user If BLUE is pressed the 4 button toggles Bus Mode on and off When Bus mode is on the system puts non zero format buses on all faders or as many as are needed to accommodate all the non zero format buses Pressing a button from 1 to 6 returns control to the appropriate fader set If BLUE is pressed the 5 button toggles Mixer Set on and off While Mixer set is on selecting channels assign
307. otes Page 318 PROJECT AND FILE MANAGEMENT January 8 2013 Project and File Management Introduction File handling in Evo supports legacy formats from previous products but also introduces powerful new Project and File management capabilities This chapter details the way the system looks after files Project Formats In Evo three native project formats are supported The newer format has the extension DR2 It has the strongest feature set and is recommended for use where compatibility with older systems is not required The older formats are MT and MT MFX3 The MT format was introduced in the DREAM I product series also known as QDC systems and is maintained with full backward compatibility by Evo The MT MFX3 format is for much older systems you ll know if you need to use it Choosing Format At the time of creating a project file the system offers the choice of project formats in the New Project dialog There is no way to change project format after creation but you can save a copy of the current project in the other format using the File Save As command Page 319 PROJECT AND FILE MANAGEMENT January 8 2013 Select the new path and name WwW rT gt Computer Data D FairlightAU Projects Jestream video gt X 4 Search Jestream video p Organize v New folder in Name 5 Date modified Type Size j Comput de aga err Ji Media 8 01 2013 8 18AM File folder amp
308. our indicates automation status Channel Meter Link Group metering is shown Page 191 MIXING January 8 2013 Pan Clicking on the Pan display toggles Pan Defeat in and out When Pan Defeat is on the red and yellow indicators disappear The column at the left represents Boom level It is brighter when on and darker when off Double clicking on the Pan graph brings the Pan Zoom display to the screen Clicking on the EQ display toggles EQ in and out When EQ is out the graph line goes dull grey Double clicking on the EQ graph brings the EQ Zoom display to the screen Dyn The blue lines on the Dynamics display indicate Limiter at the top Compressor in the middle and Gate Expander It is possible to have all of them on Double clicking on the Dyn graph brings the Dyn Zoom display to the screen Aux The Aux graph shows only sends for Aux buses with non zero format The bars represent the amount of level being sent to the active aux buses Where the send is muted the bar is dark as shown at left Double clicking on the Aux graph brings the Aux Zoom display to the screen Page 192 MIXING January 8 2013 Live Feed tiles Track 10 Track 11 Track 12 Track 13 5 i Lee o o J iJ iJ o o iJ J wm a f o o 9 i 9 9 o i Called channel 1 l
309. ous loop The timescale can be zoomed from a few samples across the screen to eight hours The Zoom number and screen width are shown at the bottom left of the screen To change zoom range Step 1 Hold down the Zoom button Step 2 Turn the jogger wheel to zoom in and out Alternatively Step 1 Hold down a Zoom button Step 2 Press a Number key on the Numeric Keypad Page 42 CHANNELS January 8 2013 Alternatively Step 1 Hold down the Zoom button Step 2 Press the or key The Mouse wheel can also be used to zoom the display click on the Edit Screen first to put it in focus Float the mouse over the track display while turning the wheel Track display selection and zooming is possible while playing and recording Timescale display Timecode positions can be displayed in whole frames frames with subframes frames with subframes and samples feet and frames in either film format or Bars and Beats To toggle between whole frames and frames with subframes hold down the BLUE key and press the Subf Clear key in the Numeric Keypad For all timescale choices select view gt Timescale and choose one of the options View Display Layering Smart Pane Pyxis Mix Panel Show Pyxis Track Multi Video Monitor 3D Dual Video Output L Playback Video Source Edit Workspace 77 Marks Sort Video Locators Tracks Clip Search Displayed Clip Information Orphaned Media TimeScale gt Background Tasks Perf
310. out of Reduction Mode as explained above Click the Bus Assign button to open the Bus Assign dialog Custom Bus Formats You can create new Bus Formats as follows Step 1 Exit from the Evo software Step 2 Open the Fairlight Setup Utility by clicking Start and then typing setup into the edit box then select Fairlight Setup Utility from the list of matching applications Step 3 Click the Bus Format tab 7 l gt Fairlight Setup Utility Surface Config I O Config Bus Formats Bus Format B Width a rail x O o 4 Bus Elements Element Name Short LR FB Left L 100 100 0 Element Settings 5 D 100 100 DU LFE LR Size ae ii Add Remove Up Down DU Size eet me The Bus Format tab shows all the currently available formats in your system The factory formats are shown in grey and cannot be edited Clicking on an element as shown above displays its position in 3D space as a red square with numerical equivalents below Step 4 To create a new format press Add creates a blank format or Duplicate creates a copy of the Page 179 MIXING January 8 2013 selected format which you can edit In this case we select the factory 5 1 format and click Duplicate Aon vnwmn ph g ba ox _ cae Step 5 Double click the name of the new format which appears as 5 1 D
311. ow D FairlightAU Projects pme T For a project that is already created use the command Tracks Add Pyxis Track Add Delete Pyxis Track Convert To or From Midi Tracks Set Audio Track Count Rename Track Set Record Seed Name Add Clip Set Display Level Set rack Colour Arm Tracks Solo Tracks Mute Tracks Safe Tracks Select All iewed Tracks Page 296 PYXIS TRACK January 8 2013 Once created the Video track appears at the top of the Edit Screen i i i gt Adding a Second Pyxis Track Note This feature will be brought into the software early 2011 and will be licensed if you wish to purchase a licence please contact your Fairlight distributor It is possible to add a second Pyxis Track using the same command Tracks Add Pyxis Track Adding a second track puts more demand on system resources particularly memory and CPU bandwidth If you plan to use a second video track particularly with HD formats we recommend upgrading your host PC to Windows 7 64 bit and bringing the amount of RAM up to 6 GBytes The second video track can be used to play out 2 video streams when used in conjunction with Black Magic Design 3D Extreme HD card This enables Dream II to play 3D footage NOTE BMD 7 8 drivers rc27 or later required Capturing importing and editing the second video track is done the same way as for the first see sections below To select one or both video tra
312. ows you to copy all or part of the settings from one path to another It works by first copying the all the settings from a source path into a clipboard then pasting the desired parts into a destination path To use Path Copy Step 1 Press the green Mixer button Step 2 Press the Path Copy button Step 3 Select the source path Step 4 Press the copy soft key Step 5 Select the destination path Press one of the Paste soft keys Inserts Overview Inserts can be switched on and off in the Path display using the Pad Soft Keys when holding down the ALT button or when the Pad Lock mode is active Inserts are used for getting signals out of the system and back in again They are also used to place Plug ins in a signal path The first step in working with an Insert is to set its physical input and output This guide shows you how to configure these and how to insert plug ins Get Ready Press the green Mixer button Select the path whose inserts you wish to configure Press the Insert Config button Page 209 MIXING January 8 2013 Operation To work on insert sends press the Sends Returns toggle so that the gt points to Sends For insert returns do the opposite To set up the physical I O for a send or return press the Patch soft key Operation is the same as How To gt Recording Patch Inputs To insert a Plug In press the Add Plug In soft key then use the Jog Wheel to scroll through the list of available items P
313. parameter through the possible switch values showing a corresponding number in the Pad These numbers can be changed to text values by editing see below With ALT Multi Switch controls switch positions can be advanced just by touching the control with the ALT button held down Turning the control also works Page 272 PLUG INS AND REWIRE January 8 2013 Control Pages Many plug ins have too many controls to fit in the Pad To handle this multiple pages of controls can be built To switch between pages press the soft keys below the Pad pages 1 to 3 and above the Pad pages 4 to 6 To select which controls go on which page use the Plug in Editor see below Graphical Display To display Plug in graphics in the Pad area press the Plug in button a second time Repeated pressing toggles this display on and off Plug in Zoom By default the plug in graphic is shown at full size in the Pad This often means it is shrunk making it difficult to read values To zoom in on a particular section of the plug in graphic hold down the zoom button and make a marquee rectangle by clicking and dragging the mouse on the ORIGINAL graphic display in the Edit Screen not the one in the Pad A red dotted line shows on the graphic while you are making this marquee Alternatively hold down the ctrl and Zoom buttons while making your marquee This will cause the selected area to display in 1 1 zoom which sometimes makes it easier to read
314. peaker_Sets TXT patching and formats of all speaker sets Setup_Variables TXT Call Follow state and Evo brightness Automation with Link Groups Link groups are useful for dealing with groups of feeds carrying audio in a multi channel format such as stereo or 5 1 See Grouping on page 165 for an overview of link groups Link groups should be established before any automation is written If members are added to a group when automation data is present on either the master or the members the data on the members is erased If the link group is destroyed or unlinked after automation is recorded for the group the au tomation data remains on the group master but not the slaves Only the parameters on the link group master can be automated the slave member s parameters follow the master Mix Editing Mix Copy Mix Copy allows a selection of automated mix parameters to be copied from one time location and channel selection to another Step 1 Press the mix on key to enable mix automation Step 2 Select the mix items you wish to copy by selecting parameters and signal paths in the usual way Step 3 Use the From and To keys to select the range from which you want to copy The IN and out points are displayed on the LCD Step 4 Press the Copy Mix soft key in the Mix menu Page 255 AUTOMATION January 8 2013 Step 5 Locate the cursor to the destination where you want to paste the mix automation data Step 6 Press the Paste Mi
315. poo Patch Record Process Bus Mix Patch Edit Assign 1 I O Configuration Inputs Analog Digital Live haa gt M Analog Digital MADI 9 Monitor Configuration sets up speakers for control room and studio see page 283 2 Patching connects paths in the system see page 54 3 Recording see page 69 AUN 4 Editing see page 90 5 Processing see page 184 6 Bus Assignment assigns channels to Buses see page 181 AUN 7 Mixing see page 176 8 Bus Format mono stereo 5 1 etc see 177 i Mix Automation see page 238 D gt BON 8 Outputs 2 3 4 or as a a Monitor Config Control Room Studio 2 Speakers Main Main Alt Altt Alt2 Alt2 gt RAOUN WN Page 5 Evo OVERVIEW January 8 2013 Evo is configurable with up to 192 disk recorder tracks up to 212 physical inputs and outputs It integrates recording and editing capability with a fully featured fully automated mixing engine capable of delivering multiple final mixes in any format up to 5 1 surround In addition it provides recording and basic editing of video in a variety of formats up to and including HD Signal paths for feeds and buses comprise both fixed and moveable processing blocks Signal paths may be configured in formats from mono up to 5 1 surround When a track feed is armed for recording the fader may be switched to control the level at the input to the disk recorder as
316. position to the clipboard Copies the selected clip or range to the clipboard Copies the head of the clip at the cursor position to the clipboard Copies the tail of the clip at the cursor position to the clipboard Pastes a copy of the clipboard at the current position Allows characteristics of the first clip on the clipboard to be pasted Erases the selected clip or range Erases the head of the clip at the cursor position Erases the tail of the clip at the cursor position Extends the clip head to use all the recorded audio Extends the clip tail to use all the recorded audio Splits the selected clips into two at the cursor Heals split in audio clips must be positioned together Unlinks linked clips Relinks previously linked clips For stereo clips swaps the left and right channels Opens a menu of Broadcast Wave commands Cycles clip layers sending top layer to bottom Reverse cycles clip layers bringing bottom to top Allows the selected clips to be renamed Syncs the selected clips to their record timecode Reverses the audio in the clips Opens a palette of colours for applying to clips Allows the level of selected clips to be set Inverts the audio phase of selected clips Allows the selected clips to be renamed Syncs the selected clips to their record timecode Reverses the audio in the clips Positions the Sync point in the clip Can be used for Jumping Page 149 EDITING January 8 2013 Edit Settings Menu Ran
317. ps on multiple tracks can be trimmed at the same time Page 129 EDITING January 8 2013 Fade Head Curve Fade Tail Curve These keys combine the Jog Wheel and the Fade function To use the Fade Head Curve button Step 1 Start with the cursor touching a clip where you want the Fade In point 1201 21 122 123 1241 25 126 127 128 129 130 131 1321 33 1341 35 136 137 1 38 139 140 141 1 421 00 08 36 18 00 08 10 00 Step 2 Press and hold the Fade Head Curve button This will cause the Fade display to show in the Smart Pane y 1u ZU 3U 3U SU bU sU gU JU 1UU y 1u gU 3U 4U bU b 1 50 S 3 137 A dB 10 00 00 01 00 i E Duration acon rae Step 3 Turn the Jog Wheel to adjust the displayed curve y 1u ZU 3U 3U SU bU sU gU JU 1UU y 1u gU 3U 4U bU b 1 50 3 a 117 dB r10 00 00 01 00 l i5 Duration Top Layers 5X20 Internal 00 08 36 1 Step 4 When ready release the Fade Head Curve button to apply the fade Page 130 EDITING January 8 2013 u lIu gU SU 4U SU buU JU U JU IUU u lu gU su bU b 1 50 3 gl ih dB 10 00 00 01 00 15 N Duration E ses Note Clips on multiple tracks can be faded at the same time If a range is present all clips wholly inside the range will be affected using the number in the Duration field as the length of their fade in 10 00 00 01 00 10 l 15 77 15 F 2m Duration co p y Copy Head Tail FJ These key
318. put Osc the system oscillator and noise generator The second part can be In the input of a signal path not a physical input Out the output of a signal path not a physical output Direct each signal can have a Direct Output Send Insert Send from a signal path Return Insert Return to a signal path Talkback the Talkback system shows Commi and Comm2 Inputs physical inputs analog or digital Outputs physical outputs analog or digital Meters the components of the current Meter Set see Meters page 288 So for example Analog Inputs means the physical analog input ports while Aux Bus Send means the Insert Sends from the Aux Busses Reverse Patching Overview There is a quick way to perform simple patching i e choosing sources for recording It s called reverse patching because you select the destination first You can patch to multiple tracks at the same time but the only allowed sources are the Physical Inputs on the SX 20 and the system buses Get Ready Press the green Editor button Selection Press and release the sex button Xynergi displays 48 tracks Select the tracks to which you want to patch inputs Patching Hold down the Set Source button You can now see all the system buses other than those with zero format and below them the four analog and four digital inputs from the SX 20 Page 58 PATCHING SIGNAL PATHS January 8 2013 Some of the source
319. puts Click Analog Inputs Or Digital Inputs at the lower left of the screen Select any Input in the upper left of the screen Click Patch to connect the physical input to the track Exit Patching by selecting another menu or by right clicking the Patch I O display Note Patching is used for all system connections between paths Please see Patching Signal Paths on page 54 for more details Arming Tracks Tracks can be armed in the following ways e Press a Track button when the Arm or ADR menu is displayed in the Record Megamode This track button should turn red e Hold down the Record button and press a Track button e Click the Arm button near a track number on the Edit screen The button should turn red Page 70 RECORDING January 8 2013 Click to Arm You can click one Arm button thus toggling it and then drag up or down to toggle others to the same value armed or disarmed without being careful to drag exactly over the buttons only vertical mouse position is taken into account Click then drag to arm multiple tracks The illustrated move will cause tracks 5 to 14 to be armed as long as they have patched inputs Page 71 Click to Arm RECORDING January 8 2013 e Click an Arm button on the Evo Mixer Screen Track Track Track Track 3 4 5 7 The same click and drag move can be used to arm or disarm multiple tracks but this time using horizontal dragging If the track has
320. r The most recently selected track is always displayed The SEL Key The SEL key is used to display 48 signal paths at once You can use the Bank buttons to move its focus through all the tracks in the project Page 39 CHANNELS January 8 2013 Using the Mouse Clicking Screen Track buttons additive selection Press a dark onscreen track selection key to add that track to the selection Press a lit onscreen track selection to remove that track from the selection Click and drag your mouse in the onscreen track selection pane to select decc o m Hala treacle Click here to select track 8 for editing m Click here to deselect Track 14 m Click any track here to select the Link Group starting at track 19 F E To select a single track double click its number All other tracks will be deselected Clicking in a Track exclusive selection Clicking in the body of a track will make it the only selected track All other tracks will be deselected Clicking and dragging vertically will select a range of tracks but NOT if there is a clip under the original click then it will drag the clip instead Ctrl clicking in the body of a track will add it to the existing selection this is useful for working with non contiguous ranges of tracks Solo Mute and Arm On Tactile Controller Press the Solo button in the Editor or Mixer Megamode to toggle solo on the current path Page 40 CHANNELS January
321. r Track Layer Start Time End Time Duration Recorded Audio 5 Recorded Audio 2 Track 2 3 00 00 12 20 00 00 15 11 00 00 02 20 Recorded Audio Track 2 2 00 00 10 29 00 00 14 02 00 00 03 03 Recorded Audio 3 Track 2 1 00 00 12 02 00 00 14 11 00 00 02 09 As the transport moves to different places or as you select different tracks the Takes display updates at regular intervals to show the current stack of clips at the cursor position The top layer is selected but you may move the selection downwards using the Jog Wheel or the and buttons Pressing the pop soft key or clicking the on screen pop button brings the selected clip to the top of the stack making it audible Other soft key commands in the Takes menu Rotate sends the top clip to the bottom Reverse Rotate brings the bottom clip to the top on off toggles Clip Layering on and off Note you can use all the commands whether or not Clip Layering is displayed The Track Menu Evo offers a group of commands that work between tracks called the Track Menu To access the Track Menu use the Track Menu button in the Editor Megamode Page 127 EDITING January 8 2013 Swap This command uses a range exclusively It swaps all layers of audio between the source and destination tracks Step 1 Select the source track for swapping Step 2 Create a range in which you want to swap the audio with another track using the From and To buttons Step 3 Press the swap soft key
322. r the Direct Output of another signal path an Insert Send and so on Patching connecting any of these signals to the input of a track or to some other destination is done on the Patch dialog This is accessed from the Record Mixer or Setup Megamodes To get there press one of the green buttons with these labels The Patch Dialog Press the Patch button to display the Patch dialog This is an overlay to the Mixer screen where the mouse is used to select sources and destinations then patch them together You can patch one source to many tracks but not vice versa Sources are shown on the left of the screen while destinations are shown at the right Sources Treck26 Destinations 28 Buttons Track Track Track Live Live Aux Bus View Track Track Live Live Aux Bus Sub Bus Repro Send Direct Send Direct Send User Input Return Input Return Return Return Aux Bus Aux Bus Sub Bus Sub Bus Sub Bus CR Mon View Main Talk Analog Digital MADI Dir Out Send Dir Out Dir System Return Back Outputs Outputs Outputs CR Mon res ee Analoq Dynamics Out Inputs Sidechain EJ Source categories Destination categories Digital Inputs Page 54 PATCHING SIGNAL PATHS January 8 2013 Source Categories Categories of signal paths are selected in the lower part of the screen Hrn BnG Ea Selecting a category of sources expands the category in the upper left of the screen eee hoe cal cl atl ad ac ial taal an sia REE ae ee en ee e cl
323. r Playhead checkbox to display only clips touching the cursor This is updated as the transport moves Page 161 AUDIOBASE CLIP SEARCH CLIPSTORES January 8 2013 Press the Pop soft key or select the Pop button to bring the currently selected clip to the top layer on its track This can be used to manage multiple takes of the same recording layered on a single track Press the offline soft key or select the Only Offline Clips button to reduce the list to only those clips for which media are not currently available Click the Reveal File button to display a Windows Explorer window showing the file containing the media for the clip Resize the dialog by dragging with the mouse on any of its sides Change the order of displayed fields by dragging the field names horizontally with the mouse Paste the selected clip s at the current time by clicking the Paste button or by dragging one or more clips from the window to the Track display if multiple clips are selected they will be placed end to end at the destination What is Displayed 4 m eA L Under Playhead Only Offline Clips 1 PROJ Jestream video i Bin 01 V Current Workspace D WFairlightAU Audio Clipstore2 Andri eee ae ClipStores By default the window displays clips from the current project By clicking the various checkboxes you can access your choice of The current project Attached Library projects for information about libraries see Imp
324. r fader levels controlled by a Master and can also be accessed individually to set relative levels within the group Control Faders in a group are controlled relatively by the Group Master fader To do this you must either e Add the Group Master to a fader set e This is done using the Mapping software See page 220 e CALL the Group Master then control it with the Pad Level control To call the Group Master click on its Name Plate on the Evo Mixer Screen e Use the mouse directly on the Mixer Screen by moving the Group Master faders Page 171 GROUPING January 8 2013 Displaying Group Membership The Evo Mixer Screen screen always displays VCA group membership as shown below Track Track Track Track Track ait ac Track Track Track Track Track Tract 23 24 25 6 f 6 29 30 31 32 33 34 35 36 Assignment to Fader Groups Global Assignment Fader Group membership can be controlled globally using the Grouping Window To open this Press gt Click gt Page 172 GROUPING January 8 2013 LLO aaa a a ite FX Stereo 1 L FX Stereo 1 R TRACK6 bzvxbx 3k3 I L bzvxbx 3k3 l C bzvxbx 3k3 I R bzvxbx 3k3 bzvxbx 3k3 1 bzvxbx 3k3 I B Ungroup 1 Track 13 L Track 13 R Track 13 C Track 13 B Track 13 Ls Track 13 Rs Track 19 Track 20 Track 21 Track 22 Track 23 Track 24 Gp 7 Ungroup Track 25 Track 26 Track 27 Track 28 Track 29 Track 30 Track 31 Track 32 Track 33 Track 34 Track 35 Track 36 ALL 7 i Grp 2 Grp 2 G
325. r of elements up to 24 Note the Evo Monitoring system has eight channels so buses with more than eight elements must be monitored using special control setups The system provides a fixed number of elements e g 54 or 72 depending on your operating licence These elements are consumed by the buses according to their format e g a Stereo bus uses two elements while a 5 1 bus uses 6 Bus Types Evo supports four types of buses MAIN The main mixing destination for the system often used to create the final product of a project Cannot be turned off Page 176 MIXING January 8 2013 Sub Buses 1 to 8 Sub Buses are extra buses to which channels can be assigned In turn they can be assigned to feed into the Main bus Fader send the same levels to all Subs and Main at the same time When preparing mixes in multiple formats simultaneously e g Stereo and 5 1 Sub Buses can be configured as Reduction Buses which allow different levels and panning to different formats For details see Setting Bus Format later in this chapter Auxes 1 to 12 Aux buses are typically used to create independent mixes for effect sends and for headphone mixes The sends to these buses are controlled from each channel and can be sent pre post fader also pre post mute Auxes can take any bus format Multi Track MT MT buses were created to allow traditional multi track tape bussing There can be up to 24 of them and their format is either
326. r previous head or tail of clips on selected tracks Display Layering When clips are placed on top of each other only the uppermost is heard or at most a crossfade between the top and second layers The software allows you to see all the layers by selecting Display Layering from the View menu or by double pressing the takes button in the Editor Megamode Display Layering Locators Tracks gt Video Track Clip Search Statistics Performance Background Tasks The layers of clips are shown on all tracks with the clips becoming thinner as needed to fit the available space Page 146 EDITING January 8 2013 00 05 00 00 IMG_0418 eens IMG_041 IMG_0418 The mouse can be used to change the order of clips To do this simply click and drag a clip from one level to a higher or lower level Changing levels in this way can be combined with dragging a clip to a different track or timecode Note that there is always a space at the top of each track equal to the width of one clip This is to allow room for you to drag a clip into the top position To prevent a clip from changing its sync while dragging it to another layout hold down the key while dragging it Group Clips Evo can create grouped clips that behave like individual clips To do this Step 1 Create a range containing the clips you want to group Step 2 Use the command gt A grouped clip appears in green when not selected If you have
327. rameter values against time They are superimposed on the track displays in the Edit Screen a fff tinh ih Fader Level One parameter may be shown on each track The Curve button allows you to choose which one To choose a parameter for automation curves do the following Page 230 THE IN LINE PANEL ILP2 January 8 2013 Step 1 Select the track s where you want to display curves You can use the Xynergi Center Section buttons to select tracks Step 2 Hold down the Curve button If your parameter is accessed with aT you ll need to hold that down as well Step 3 Touch the ILP knob or press the button that controls your parameter The parameter being controlled by that physical knob or button is toggled in or out of the Curve display User Modes U1 U2 and U3 User modes can only be set up by editing XML files which is considered too awkward for users If you have a particular need for a custom layout on the ILP please contact Fairlight in Australia ALT This ALT button is a repeat of the one on the right Its purpose is to access more controls in Strip mode Open mode and Channel mode Path Controls The Path strip controls the general behaviour of the audio channel Trim The rotary knob controls the gain of the Input after any conversion from analog to digital Phase The button toggles the phase of the input Track Arm Can be used to arm a track but only if an input is patched to it This is done using the Patch I O
328. rams button Select the destination bus Note that all Aux buses are shown but Sub Buses are only shown if they are Reduction Buses Select some Tracks or Live Feeds Use the pre post soft key to toggle pre post The gt symbol shows which is selected If the setting is not the same for all the selected paths the gt is displayed twice and the soft key flashes Pressing the soft key will make them the same Use Bank and Tracks Or Lives to reach more paths Press Exit to finish Signal Processing Using the Pad Overview The Pad can be used to set signal processing parameters In this guide you will see its general workings using the EQ control as an example Note Extensive mouse based control of signal processing is also available For details please see Screen Mix Controls on page 187 The ILP2 panel is another very efficient way of controlling signal path parameters For details please see the section starting on page 224 The Pad rotary controls are always available To choose what type of controls are active Choose the Mix Megamode by pressing the green mixer button We will use the EQ display to show how the Pad works Press the o button Operation The rotary knobs control the upper function in the box which relates to the chosen type of signal processing i e Path EQ Dyn Aux Or Plug ins Page 184 MIXING January 8 2013 HF HI SH HF HI SH 3k87Hz 11dB a HMF BELL 3 E HMF BELL 80
329. range is 1 0 1 to 10 1 Compressor Attack Time The attack control adjusts the attack rate time constant of the sidechain detector The control range is 0 to 100mS Compressor Release Time The Release control adjusts the release time constant of the sidechain detector The control range is 0 03 to 4 03mS Compressor IN OUT The Compressor in out key bypasses the compressor section Exp Parameters Exp represents the second channel of dynamics It may be configured as an expander or gate Press the Exp Gate toggle button to toggle between these types Expander Threshold The Thrsh controls adjusts the expander threshold The expander threshold sets the signal level below which gain reduction occurs The control range is from 50 to 0 dB Expander Ratio The Ratio control adjusts expander ratio This sets the gain reduction ratio input to output applied to signals which fall below the threshold level The control range is 1 0 1 to 10 1 Page 235 THE IN LINE PANEL ILP2 January 8 2013 Expander Attack Time The attack control adjusts the attack rate time constant of the sidechain detector The control range is 0 to 100mS Expander Release Time Press the Hold key to toggle the Release control between Hold and Release The Release control adjusts the release time constant of the sidechain detector The control range is 0 03 to 4 03mS Gate Threshold The Thresh control sets the signal level below which gain reduction oc
330. range on the armed tracks Afterwards you can replace any parts that are not correct by recording over them Both Blank Tape and Render Tape run quite fast about 10 seconds for each hour of track time depending on computer and hard disk speed The advantage of using them is that you do not need to record sequentially you can move around anywhere in the Tape and replace the parts you are ready to work on Add Recording Handle Overview A Handle is an extra piece of audio at the beginning of a recording The system automatically adds this piece just as if you entered recording earlier This can be very useful when trying to capture performances as it gives you extra time to react Press the green Record Megamode button to access recording functions The Arm menu will be automatically selected Press the Handle soft key then change the displayed number of frames by typing on the Numeric Keypad using the Jog Wheel or pressing the and buttons Press ENTER to apply the displayed number Page 74 RECORDING January 8 2013 You can also change the Handle size by selecting Setup Record Settings and changing the number in the Handle group Note if the transport has not been rolling for as long as the handle before you issue the record command the system will create a shorter handle Auto Name Clips Overview Every clip is given an automatic name when you record it This name consists of a seedname and a number
331. rated below Before clip exposes only part of the original media During Tape Mode recording Media is being replaced Page 73 RECORDING January 8 2013 Recording reaches the end of the clip and continues clip is extended and now the hidden media is being replaced This media might be used by other clips in which case their sound will change To prevent this you can use Replace Mode This is a variation where the system will not punch in until it is playing over a clip and will punch out automatically when it reaches the end of that clip This ensures that you cannot overwrite any media that is not exposed nor can you create a new clip by punching in too early To select Replace Mode select Process Tape Mode Replace Mode Creating Tapes If you would like to ensure that only one clip per track is created by recording you can start by making a Tape which is a Tape Mode that is ready to overwrite Step 1 Step 2 Step 3 Step 4 Step 5 Step 5A Press the Record NEW Tape soft key in the Arm menu Use the From and To keys to make a range that represents the length of the Tape you want to make Arm the tracks where you want to put a Tape Mode clip Press the Setup Tape soft key Now you have two choices Blank Tape will make a blank zero waveform Tape Mode clip on each armed track filling the range Render Tape will make a single Tape Mode clip on each armed track copying all the audio that is already in the
332. re Press the M1 key to toggle the 9 pin machine on or off Evo s transport will locate to the timecode from the 9 pin machine The system defaults to M1 controlling 9 pin Port A Placing Sound to Picture Step 1 With M1 online locate the video at the desired frame Step 2 Take M1 offline Step 3 Locate the transport so the cursor lies on the sync point of the clip Step 4 CUT or COPY the clip to the clipboard Step 5 Place M1 online the transport will relocate to the video at the desired frame Step 6 Press lt Enter gt to paste the clip Page 349 SYNC AND MACHINE CONTROL January 8 2013 Timecode Setup Introduction The Setup Menu is used to configure the Project s synchronisation setup Step 1 Press the Setup key or click View Smart Pane Sync Setup Step 2 The following dialog is displayed Sample Rate This value can only be set when creating a new project Frame Rate Can be changed at any time Normally it is best to choose the frame rate of the Master video device in your system or of the timecode being chased if any Record Bit Depth Can be changed at any time All subsequent recordings will have this depth Video Resolution This is the format of the external video reference applied to the SX 12V or SX 20 It must be set to match the incoming video signal for correct sync Pull Up Down Allows setting of Pull Up and Pull Down often used in NTSC video setups Detailed explanation below Sync Sour
333. re reloaded Page 154 TIME DOMAIN PROCESSING January 8 2013 Time Domain Processing Introduction Evo provides powerful Time Compression and Expansion via Serato s Pitch n Time FE Fairlight Edition and automated dialog alignment via Synchro Arts Vocalign Project Time Compression Expansion Serato Pitch n Time FE provides the industry s finest time compression and expansion Change length without changing pitch or pitch without changing length and hear the result in real time as you jump from clip to clip Pitch n Time FE is fully integrated with Dream N s Binnacle controller allowing for fast intuitive operation Note Pitch n Time FE requires an iLok USB Security Key and a valid license Licenses can be purchased at http www serato com Step 1 To enter the Wave Menu press the wave key Step 2 Press the Pitch n Time soft key The Pitch n Time FE popup appears i xi Algorithm Polyphonic ts gt Tempo I i i ns 133 327 Length Input 8437760 Samples 7 Units Output 6328616 I Capture Pitch 1 a 100 000 I Pitch n Time FE 1 0 2006 Serato Audio Research Preview Process Close Use the keyboard and mouse to adjust parameters e Select an Algorithm o Polyphonic best suited for music o Vocal best suited for voice o Varispeed varispeed mode e Press the preview soft key or Preview button to audition your settings in
334. re touching the Play Head These clips are coloured red Warning This may include clips on tracks that are not visible at the time If there is a range this command will copy all clips and parts of clip on selected tracks that lie inside the range The same warning applies Paste Clipboard This command pastes the clipboard at the current timecode position starting from the lowest numbered selected track Page 143 EDITING January 8 2013 Note the clipboard includes a reference to the position of the playhead at the time of cutting or copying When pasting the system places that reference position in the clipboard at the current timecode This is illustrated below Clockface Before clips are cut copied Tracks 6 and 7 are selected and there is no range Clockface THEE 7 hdi PAIN OTT After the cut copy A ghost appears showing the clipboard contents Note that the sync reference is indicated by the position of the clips and the Play Head We select tracks 25 and 26 The ghost shows where the clipboard would go if pasted Page 144 EDITING January 8 2013 Maid with the Flaxen Har Kalimba After pasting the clips are synchronised in relation to the Play Head in the same way as when they were cut or copied Fade Head Inserts a fade from the head of the clip to the Play Head If there was already a fade at the head it is replaced The curve parameters of the inserted fade are the ones that
335. reign MT LIB 2 34000 G FairlightAU Projects 96Tracks 96Tracks DR2 LIB 3 32000 G Fairlight4U Projects ImportRobotsTest ImportRobotsTest DR2 LIB 4 10000 G FairlightAU Projects New Project70 New Project70 DR2 LIB 5 35000 G FairlightAU Projects New Project144 New Projectl44 DR2 LIB 6 18001 G FairlightAU Projects New Project144 New Project144 DR2 LIB 6 PREREAD G FairlightAU Projects New Project12 New Project12 DR2 LIB 1 MAINRECO G FairlightAU Projects New Project12 New Project12 DR2 LIB 1 31000 G FairlightAU Projects New Project12 New Project12 DR2 LIB 1 36000 G FairlightAU Projects New Project12 New Project12 DR2 LIB 1 03003 G FairlightAU Projects New Project12 New Project12 DR2 LIB 1 37000 G FairlightAU Projects New Project12 New Project12 DR2 LIB 1 ug G FairlightAU Projects New Project12 New Project12 DR2 LIB 1 cog G FairlightAU Projects New Project12 New Project12 DR2 LIB 1 wj Multiple reels can be selected at the same time and linked to a single project Set up destination tracks If all tracks will be involved choose Track 1 as the destination Click the Reconform button If one of the linked projects is not found an error message will be displayed and the reconform will stop If there is no audio between the source In and Out times for an event an error message will be displayed but the reconform will continue with the following events Additional Facilities Selecting a reel in the Reel Linking
336. ress the add soft key to apply The graphical controls for the Plugin will be displayed on the Edit Screen Plug ins can be organised into a list of favourites by pressing the Add to Fav soft key Press the Fave soft key to display only this list Press the Plug Ins button at any time to toggle the Plug ins editor You can select another path while the Insert Config layout is active Direct Outputs Overview Direct Output levels are controlled in the Path display This guide shows you how to configure the physical I O for Direct Outputs Get Ready Press the green Setup button Select the path whose inserts you wish to configure Press the Direct Config button Operation Before you can work on a Direct Output it must be given a physical output To do this press the Patch Outputs soft key Click Analog Outputs Or Digital Outputs choose an output click Patch Operation is the same as How To Recording Patch Inputs Press the Patch Outputs soft key again to exit To change the gain of the Direct Output press the gain soft key Use the Jog Wheel to change the displayed number This will be expressed as REL relative if more than one output is active i e when a Link Group is selected Press Enter to apply The on orr toggle and the pre post toggle are available once the output is defined Oscillator The system oscillator is toggled on and off in the Mixer or Record Megamode using the osc button To set Oscillator frequenc
337. ric EQ Filt displays controls for the two channel filters Aux displays controls for Aux sends 1to 8 Aux displays controls for Aux sends 9 to 12 Comp displays controls for the channel compressor u1 is a strip layout that you can build and access Lim displays controls for the channel limiter u2 is a strip layout that you can build and access Exp displays controls for the channel Expander Gate u3 is a strip layout that you can build and access ALT is used to access a second function on any ILP control Hold it down and the display will change to show the ALT function You can also latch it by pressing and releasing it quickly THE IN LINE PANEL ILP2 January 8 2013 Step 2 Touch a control on any channel This copies the whole channel to a clipboard Keep holding down the Enab Copy button Step 3 Choose which parameters you want to paste by toggling their buttons on the right side of the ILP You may choose any number of buttons and they will flash Hold down BLUE if you want to select parameters whose buttons work with the BLUE key like Filter If you want to paste the whole channel press the Chan button on the left side of the ILP Step 4 Touch controls on any number of destination channels The system will paste your chosen parameters into each channel as you touch its control Step 5 Release the Enab Copy button Strip Buttons The Strip buttons control which pages of controls are s
338. rmation is displayed in clips using the command view Displayed Clip Information The system displays a dialog like this Page 37 CHANNELS January 8 2013 Note that Frame Rate Video Size and Codec are only shown on Video clips see the chapter Pyxis Track on page 296 for details about video Choosing Clip Colours To explicitly choose clip colours do the following Step 1 Select tracks containing the clips you want to colour Step 2 Move the transport so the clips are under the cursor or make a range using the From and To keys The clips should be red Step 3 Use the menu Edit Set Clip Colour Clip Clip Level Normalize Clip Level LR Stereo Swap Phase Invert Clips Rename Resync to record time Reverse Clips Set Sync Point BWF hd Click to choose a colour for all selected red clips Click to display a mixer for special colours Flip ideo Clip Field Cut Clips To Bin Cuctom Colour Click to return the selected clips to their opr asic es a Follow Track track colour Publish Clips To Clipstore Multichannel Clips Multichannel clips are linked for editing operations They are displayed with no separating line and a little smaller in height The picture below shows two stereo multichannel clips Page 38 CHANNELS January 8 2013 AE HE H H Hen a You can create multichannel clips in two ways e By importing a multi ch
339. rom Midi Tracks If you select some audio and some MIDI tracks before issuing the command all the selected tracks will end up the same majority rules The audio and MIDI tracks are distinguished visually by a new pair of icons in the bar at the left Page 313 MIDI TRACKS January 8 2013 MIDI Audio Patching to MIDI Tracks To patch MIDI inputs to tracks and their outputs to instruments use Setup Instruments on the Edit Screen Instrument Setup x Instrument MIDI Device In MIDI Channel REAPER USB Audio Device _xf Church Organ 2nd 1 xj Church Organ 2nd USB Audio Device OMNI Unassigned Unassigned Unassigned OMNI Unassigned Unassigned Patching is done in three steps 1 Load an instrument and patch a controller to it 2 Patch the instrument s audio outputs to tracks or lives so you can hear it 3 Patch a controller to be recorded on a track and patch the track s output to an instrument to play it Step 1 On the input left side load an instrument using the Add command Choose any of your installed instruments from the dropdown menu that is displayed The GUI for that instrument will appear on the screen Now assign a MIDI controller MIDI Device In and choose the MIDI channel or OMNI that the instrument will play it will not respond to other MIDI channels from the controller The MIDI controller you assign will play the instrument live Step 2 To hear t
340. rovide different ways of managing sound effects and clips AudioBase has database capabilities which make it suitable for large scale and shared sound library capability Clip Search is more suited to fast storage of clips and groups and provides searching within the current project and attached library projects AudioBase AudioBase is a library database which allows you to search for WAV files on your Medialink2 server via a standard Windows network Once a WAV file has been found it may be auditioned and then imported into the current open Project Creating and Maintaining Databases Refer to the AudioBase3 User Guide for details on creating and maintaining clip databases Searching for Sounds AudioBase3 uses a simple search interface to find clips Step 1 Press the audio base key The search field becomes active Step 2 Enter the text you wish to find and click the search soft key or the on screen seach button All relevant database fields will be searched Use quotes to find whole phrases An AudioBase search can be stopped by pressing the search soft key again or by clicking the screen Search button again Page 158 AUDIOBASE CLIP SEARCH CLIPSTORES January 8 2013 Placing Sounds In A Project Dream II v0 0a35 Beta ali_48tk le lt 48 tracks gt MFX Project File x Search For car Cip Name T283 Category 6004 Sample Rate 44100 eT Type all 7 User 1 User 2 Clip Type 0 aE Sample Rate All 7
341. rp 2 Grp 2 Track 37 Track 38 Track 39 Track 40 Track 41 Track 42 Track 43 Track 44 Track 45 Track 46 Track 47 Track 48 2 2 2 2 Track 49 Track 51 Track 52 Track 53 Track 54 Track 55 Track 56 Track 57 Track 58 Track 59 Track 60 Track 61 Track 63 Track 66 Track 67 Track 68 Track 69 Track 70 Track 71 Track 72 Track 73 Track 74 Track 75 Track 76 Track 77 Track 78 Track 79 Track 80 Track 81 Track 82 Track 83 Track 84 Track 85 Track 87 Track 90 Track 91 Track 92 Track 93 Track 94 Track 95 Track 96 Grp Grp Grp Grp Gp Grp Rename ak 2 4 7 8 11 Grp Grp Grp Grp Grp 14 17 18 22 23 Grp 28 To use this window Step 1 Select a VCA group at the bottom of the window Step 2 Toggle signal paths in and out of the group Step 3 Use Page Up and Page Down to access more Tracks and Live Feeds Step 4 To close this display type SHIFT ctrl1 v again or esc or right click on the window Assignment from the Virtual Channel Membership of fader groups can also be controlled in the Virtual channel which is accessed by right clicking a channel tile in the Mixer screen Page 173 GROUPING January 8 2013 Click here to change the Fader Group of the called channel Zero means no Fader group membership Naming a Group Groups are named the same way as other signal paths using the Name Path function see page 53 Multi Trim Multi Trim is a mouse driven operation in the old FMC screen where many channels can be changed at the same time
342. rrors or omissions to andrew fairlightau com Table of Contents INTRODUCTION ccssececesssseeeeeeescees 1 Congratulations ccceeecesseeeeeeseeeeeaaeeeeeeaaees 1 About This Manual secere 1 What Else You Need to KNOW 1 Some Important TerMs cceeeeeeeeeeeeeeeeeeees 2 Anything Missing cecce 3 The Xplain System ssssasssssessssnnnnnnnnnnnnnnnnnnnnnna 3 EVO OVERVIEW 4 icicccnn nna 5 Signal Flow DidQram ccceeececesseeeeeeaeeeeeeaaees 5 Hardware Components n se 7 Grp hiCSinieccesecctectete hice i casheedeseix accuse teres 7 Starting the SYStem ccecccsseeeeesseeeeeeseeeeeaaees 9 System Shutdown ccceeeceeseeeeeeaeeeeeeeaaeeeeeaaees 9 Graphic THEMES ccceceeessseeeeesseeeeeeaeeeeeeaaees 10 SELECTION AND CALLING 11 Selection TYP sS cssseecccssseecccesseessenseesseaees 11 HOW tO Sele asin neni ia eani AE o 11 How to Call eenean one diao a 11 Mix Follows Edit cerssmnokan nnno 12 Call FOON S nenioma 12 THE XYNERGI TACTILE CONTROLLER13 Introductionis cos aeai a a 13 Monitor Section ccccceeeeeeeeeeeeeeeeeeeaeeeeae eran 13 FKEed KEYS ero ri a N E AE 15 Picture KEYS iveccceeecniecenuhscntveecnseerevscteveveedeare 19 The Pal arrneo A eit 22 Sont KEYS aki ahipa i E vest aeviveevesveedeesenes 22 MegamodesS ceeceeeeeeeeeeeeeeeeeaaeeeeeaaeeeeeeaaeeees 23 THE NUMPAD nasaansnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn 25 Parameter ENtry ccccccctsssccesesenssa
343. rsh Turning on Dim causes a drop in level whenever Loop Jog is activated Recommended if monitoring at high volume Mouse Jogging The mouse can also be used to move the transport Simply right click anywhere and drag horizontally to move the transport Audio is heard while this takes place IF the transport is in Jog Mode i e Jog has been pressed Shuttle To shuttle the transport hold down the BLUE key and press Jog The jogger wheel will then increase and decrease the transport velocity in forward and reverse Press the FF or REW keys to reverse the shuttle direction To shuttle at normal speed press pLay then hold down the BLUE key and press Joc To shuttle at half speed hold down ctri and press REW or FF To shuttle at play speed hold down sHiFt and press REW or FF To shuttle at double play speed hold down sHIFT and ctrl and press REW Or FF The transport key LEDs reflect the current speed and direction For example if shuttling reaches play speed the play light comes on Looping Overview Looping means playing the same section over and over There will normally be a pause at the start of the loop while the system loads audio from the hard disk ready to play The loop uses a start and end timecode which can be set in a number of ways Looping can use a preroll and postroll See below for options Loop Commands Press the loop button to start looping using the current loop start and end times If th
344. ry 8 2013 Al 1 8 AG 9 12 9 16 All Audio Track Ul oA in on on Track mapping chooses the tracks where you will record in your currently open project DREAM II lists each type of edit that it finds in the EDL e g A12 A 3 etc and allows you to choose which audio tracks to record for each type Often it will be the same set of tracks for all edit types Click in the Record Trks column for each type of edit and choose from the drop down list The Rec Tracks drop down list provides a convenient way to quickly fill in the track mapping for a specific number of tracks per EDL track Presets allow you to save a track mapping for reuse Type a name into the field and click Save To load a preset simply select it from the drop down list Select Edits to Capture CLOSE C f 4 D A12 2 S3EP33 OO 14 38 12 00 16 55 1 5 Cc A 34 CLOSE OOF 24 12 00 48 26 1 6 C 00 16 55 2323 a i The system will capture only the highlighted events in the EDL display Use the mouse to highlight the required events You can select a range of events by selecting the first then holding down SHIFT and selecting the last in the range You can add or subtract an event from the selection by holding down ctrl and clicking it Events that are marked with an R will not be recorded even if they are selected 1 at pan D amp c J Each time the system performs a recording the events that successfully record are automatically marked this way
345. s A saved EQ setting can be deleted by first selecting it from the drop list then clicking the Delete button A special preset can be created called default Whenever the Clip EQ display is opened for a clip with no EQ this preset will automatically be loaded into the display Editing on Multiple Layers Clips in Dream II form layers on each track with the most recently pasted or recorded clips sitting on top of the others During playback and record only the top layer is heard or a crossfade between the top and second layers Page 126 EDITING January 8 2013 In the above example the sections that are played are indicated in red and orange this is just indicative not part of the user interface The orange sections form a crossfade between the top and second clip in the stack This layered view can be toggled on and off by double pressing the Takes button or by the command View Display Layering Many editing functions target only the top layer and some can target all the layers To perform an edit on all layers toggle the A11 Layers button on To access a particular clip below the top layer we use the Takes Menu Takes menu To display the Takes menu press BLUE Takes The system displays a Smart Panel showing the individual layers on the current editing track For the configuration shown above the Takes display looks like this when the cursor runs through the middle of all the clips Colo
346. s or dragged to different places But selection is always and only determined by clips touching the playhead At this time they are shown in red and are targeted by commands from menus and from the keyboard e Right click in Timescale locate transport to that time and center that time on the screen e Double right click anywhere start playing from clicked position Moving Clips Clips can be dragged horizontally and vertically with the mouse This changes the clip timecode and track respectively When there is no range simply click and drag any single clip to another time or track When there is a range click on any selected red clip or part of a clip and drag it all other red clips will also be dragged along with the one you clicked To constrain movement to only vertical or only horizontal press the Shift button after clicking with the mouse but before moving the clips 7 Point Editing Each clip can display 7 points that can be moved with the mouse The points are displayed when the mouse hovers over the clip Fade In Fade Out point point F t rade iN ial aa Curve point Trim Head a Clip Level Trim Tail point point point Trim Points The Trim Head and Trim Tail points can be dragged horizontally to expose or hide more of the recorded media for the clip Page 140 EDITING January 8 2013 When you first click a Trim point the clip expands to its maximum possible extent in that direction i e shows
347. s the keys surrounding it like Loc Set Fader Sets and so on The following functions are available on the Numpad Function Type Numbers Parameter Entry Choose Fader Set Choose Number of tracks on Edit Screen Go To a timecode mark or clip name Jump by a number of seconds Set Review time Choose Meter Set Capture timecode into a Locator Move to a Locator Set Loop Jog width Macro execution Press or Hold Button None None Fader Sets BLUE Go To Jump Left Right or REW FF Review B Meters Setup Megamode Set Loc Jog Play hold down Macro key see Chapter Macros page 150 These functions are described in detail in the Chapter The Numpad Type Numbers When naming channels clips and other things these keys type the large number written on them Page 16 THE XYNERGI TACTILE CONTROLLER January 8 2013 Play Jog Primarily used to enter Jog mode but also toggles to Play mode if Jog mode is active This is designed to allow easy transport control without moving your right hand away from the Jog Wheel BLUE Jog initiates Shuttle mode where the speed of the transport depends on the Jog Wheel position The Jog function has many other commands and variations For details please see Jog Play page 29 REW and FF These keys are repeats of the keys found in the transport row of the Picture keys Both REw and FF can be repeated many times to increase speed Pressing REW FF issues a STOP c
348. s Elements Left Center Right etc at the top left Click Analog or Digital outputs at lower right Choose the right number of free outputs to match the number of speakers Click Patch Click Name if you want to name the Speaker set Press the end soft key to leave the Config Monitors screen Page 284 MONITORS January 8 2013 Choose Monitor Speaker Outputs Overview The system allows you to define many speaker sets There is always a MAIN set usually your large Control Room monitors You may also create many other sets and choose them whenever you like This guide will show you how to choose outputs for any of your speaker sets Get Ready Press the green Mon button Press the Mon Setup button if it s not already lit Set Outputs Press the Config Monitors soft key and work on the Mixer Screen Choose a Speaker set at the lower left Select all or one of its Elements at the top left Click Analog Or Digital Outputs at lower right Choose the right number of free outputs to match the number of selected elements Click Patch Repeat as needed Press the end soft key to leave the Config Monitors screen Change Monitor Listening Format Overview You can tell the system to play into a narrower format than your current speaker set This is called folding down For example you can listen to your 5 1 mix in stereo without changing speaker sets by changing the Listening format The system remembers the l
349. s at the same time When Multi is Off the Pad controls only the most recently selected path which is called the Current Module Pressing MULTI changes its display to MULTI REL relative All changes made with the Pad now apply to all selected signal paths Changes made with rotary knobs are applied relatively i e values amongst the signal paths remain different but rise and fall together But values are clamped when they reach the upper or lower limit Changes made with switches are applied absolutely even if values amongst the selected signal paths are different at the start Take care with Multi It s very powerful but also quite dangerous It s a good idea to switch it off as soon as you ve finished using it Page 187 MIXING January 8 2013 Screen Mix Controls Introduction In V3 0 software Fairlight software gained a new mixer screen By default it is displayed in preference to the old one but you have a choice The old screen is called FMC and the new one is called EVO Mixer Screen Choosing Your Mixer Screen V4 0 software enables this new mixer screen by default however it can be specifically enabled or disabled from within the Themes setup dialog in Setup gt General Preferences gt Themes EVO Mixer Screen V Monitor Index 2 X To enable the Evo Mixer Screen ensure that its checkbox is selected and choose the desired monitor using the Monitor Index drop list The monitor can be the same as
350. s copy the head or tail of the currently selected clip s The method for copy tail is listed below Step 1 Start with the cursor touching a clip whose tail you wish to copy and paste Step 2 Press and hold the copy tail button This will cause the tail of the selected clip to display a ghost Step 3 Use the Jog Wheel or any transport control to locate to the point where you want to paste the tail If desired select another track to be the paste target but keep holding the copy tail button down Step 4 Release the copy tail button to make the edit Note Clips on multiple tracks can be copied and pasted at the same time Cut Head Tail These keys copy the head or tail of the currently selected clip s The method for copy tail is listed below level Level Adjust This key combines the Jog Wheel and the Level Trim function To use Level Adjust Step 1 Start with the cursor touching a clip whose level you wish to trim Step 2 Press and hold the Level Adjust button Step 3 Turn the Jog Wheel to adjust the level trim displayed in the dialog box Page 131 Step 4 EDITING January 8 2013 At the same time the clip waveform will change amplitude When ready release the Level Adjust button to apply the level change Note Clips on multiple tracks can be level adjusted at the same time If a range is present all clips wholly inside the range will be affected Importing from Other Projects The Import Menu allows you
351. s in any mode except Jog this key initiates Jog mode When Jog is active the key is illuminated in blue Page 29 THE NUMPAD January 8 2013 If the transport is already in Jog this key initiates Play mode When Play is active the button is bright yellow If the BLUE key is held down when Play Jog is pressed the transport goes into Shuttle mode constant speed forward or reverse controlled by the Jog Wheel When Shuttle is active the key flashes blue When Jog mode is active the transport moves as you turn the Jog Wheel Audio is heard on all tracks up to about four times play speed depends on number of tracks playing and speed of disk system Jog Speed Jog Speed depends on Zoom setting the wider you zoom the faster you jog This can be changed in two other ways Hold down Jog and select Jog Gear on the soft keys e Hold down Zoom and press and release Jog this sets the jog gear ratio to three turns per second play speed at the current zoom setting While in Jog mode ctrl Jog Wheel go 5 times faster SHIFT Jog Wheel go 64 times faster SHIFT ctrl Jog Wheel go 512 times faster Shuttle BLUE Play Jog button enter Shuttle mode When Shuttle is active the transport moves forward or backward using the Jog Wheel as a speed dial Audio is heard with shuttle speeds up to about four times play speed depends on number of tracks playing and speed of disk system While Shuttle is ac
352. s them to faders automatically If BLUE 5 is pressed again Mixer Set goes into hibernation meaning it no longer changes when channels are selected Mixer Set is exited completely when another fader set is selected Lock is not implemented in this version of software Page 213 MIXING January 8 2013 Fader Sets A fader set is a group of channels mapped to the faders The system offers up to 12 fader sets each including as many channels as there are faders on the system To select a fader set Step 1 Press a Fader Set button 1 to 6 on the left side of the Fader Panel Step 2 Press or hold down the Bank button to access Fader Sets 7 to 12 You can also select Fader Sets on the Evo Center Section Step 1 Hold down the Fader Sets button Step 2 Press a button from 1 to 9 Step 3 Release the Fader Sets button The same thing in latched mode Step 1 Press the Fader Sets button Step 2 Press a button from 1 to 9 Step 3 While Fader Sets is latched you may choose any fader set by pressing a button from 1 to 9 Step 4 If desired press the Fader Sets button to unlatch it if you prefer you can keep the Fader Sets layout handy for more changes Mixer Set Mixer Set is an option that takes over some of your faders and automatically places selected channels on them As you select and de select channels they dynamically come and go from the faders This makes it very easy to mix a large number of channels with a small number of fa
353. s to the clipboard you can flood fill them directly into the automation range for another path To use make a range and select the source path Copy the mix parameters from the selected path by pressing the copy soft key Now select the destination path and press the flood range soft key All the enabled parameters will be pasted to fill the range with automation values from the source to the destination Page 254 AUTOMATION January 8 2013 The Utils Menu The Utils menu contains some options that are relevant to automation It is found in the Setup Megamode Glide In When a parameter transitions from one READ value to a new RECORD value discontinuously as when dropping in from PREVIEW to RECORD or when merging one mix into another this value is used to define a ramp from the previous data to the new data Press the Glide In soft key and use the jog wheel numeric keys or keys and press Enter to change the Glide In value Glide Out When a parameter transitions from one RECORD value to a new READ value discontinuously as when dropping out of RECORD or when merging one mix into another this value is used to define a ramp from the previous data to the new data Press the Glide Out soft key and use the jog wheel numeric keys or keys and press Enter to change the Glide Out value Update Sys File Saves the following system settings to the following files Monitor_Sources TXT patching and formats of external monitor sources S
354. screen means ready to edit Press the button and then the soft key This will split the clip into two pieces butt edited together We will make a crossfade Press the button 00 07 54 00 00 07 57 00 00 08 00 00 0 08 02 00 Issue the command gt Page 97 EDITING January 8 2013 3 00 00 10 08 02 00 Sseromid clip The Xfade dialog appears showing the last used parameters The Duration is depicted with a yellow overlay to show the region of overlap 3 00 00 0 08 02 00 Turn the Jog Wheel so that the Duration is increased The Yellow region expands accordingly You may also change the X Point value labelled or the X Level value labelled dB This can be done by tabbing to those fields and using the Jog wheel or by mouse dragging the red point Page 98 EDITING January 8 2013 00 07 54 00 00 07 57 00 00 08 00 00 Second clip To apply the specified crossfade press or click the button in the dialog See more details about crossfading later in this chapter Clip EQ Overview The clip eq menu allows you to add a four band equalizer to every clip The display of clip eq is shown in the Clip EQ Smart Pane above the Edit Screen This comes on automatically when you enter the clip eq menu In Clip EQ only one track is active Even if many tracks are selected only the most recently selected will be affected This track has a blue label in the Edit Screen Clip EQ does not use a range Get Read
355. se Haca alju oneg sirnalina Cancel Make your selections and click OK Page 335 PROJECT AND FILE MANAGEMENT January 8 2013 File Type Select Wav BWave or AIF files BWave files will be exported with the timecode stamp from the Dream II timeline Export With Select Clip EQ Clip Level and or Clip Fades to render those modifications into the exported file s Normalize Normalize will examine the level in every clip you have selected find the maximum level of all the clips then show the gain increase needed to bring it up to 0 dB Then all the clips will be amplified by this amount giving you the loudest best quality signal possible while maintaining correct balance Audio Type Select bit depth and Sample Rate for exported file s Defaults to Project sample rate and bit depth Mixdown Select Entire Project to export the entire project one file per track in Multiple Mono Mode Select Between Range to export all audio in the current range one file per track in Multiple Mono Mode Select Selected Clips to only export selected red clips always one file per clip regardless of selected Channels Check Selected Tracks Only to only export selected tracks Check Align to Video Frame Boundaries to align exported file s with the video frame edges Check Export Empty Tracks to export blank files for empty tracks if Multiple Mono files have been selected Then select the location
356. seeeeeeeeees 126 The Track MenU cccccessseeeeesseeeeeeaaeeeeeanees 127 Evo s Quick Edit Layout sesser 129 Importing from Other Projects sses 132 Gating CIPS s cccicccedsscepeecesne Aea A ATE 133 Replacing Audio Media ceceeeeesseeeeeeeeees 134 UNdo ANd RECO soere ensor 135 Mouse Based Editing ccccseeeeeesseeeeeeaees 138 MOVING CIPS carian oeni as 140 Z POINE ECIUNG mimindaminomt an 140 The Edit Toolbar ccccsseeeeesseeeeeeeeeeeeaaees 142 Display LAYErING cccccceeeeeeeseeeeeeeeaeeeeeaaees 146 GUP CIDE ean 147 Mouse Edit Menus cccceeesseeeeeeeeeeeeeaaees 148 Mac OS raean aoada raana ra a EEOAE KTda 150 TIME DOMAIN PROCESSING 155 Introductions n a 155 Time Compression Expansion s s s 155 Using VocAlign Processing ccccsseeeeeeeees 156 REMOVING CLICKS cece eeeeeeeeeeseeeeeeeaaeeeeeaaees 157 AUDIOBASE CLIP SEARCH CLIPST ORES 0 0 s s cscc te cticieecteles 158 AUIO BaS sitedivsviecetsveeessevivestetiveisecsieeeseosis 158 Glip SQ arch annemin naiai a Ai 160 Aiek E TTEA ATT EATA 162 ClipStoreS cnn aanre Re EEE cine 163 Preview from Windows Explorer ee 164 GROUPING 22 ecsiiscececc tice asseeiieceedls 165 Introducti ON iwi ites i es 165 Summary Of Groups cseeeeeeeseeeeeeaeeeeeeaee 165 LINK GrOUDS cceceseeeeeeeeeeeeeeeaaeeeeeaaeeeeeeaaees 165 Fader Groups VCAS seee 171 Naming a GrOUP cceeeeeee eee eeeeeeee tessa eeeeae eee 174 Moti Trin
357. senseeteeeenseeess 25 LOG ANG Seb wesseveesirscscesedseveen teeseaddecsveatieeveees 25 Fader Sets i ccssscvseeersenschsasevites taeetes deeseceevecveeis 26 Meter Sets ccisctucecesesitea sede haaku duani anarian 27 JUMP by SECONAS cceeceseeeeeeeteeeeeeeaaeeeeeaaees 28 REVIEW ean eedegucen e aaa a a a EDA 29 Play El PEATE AET 29 CHANNELS fos Ano eens 32 INtrOCUCTION ereer rhan TA EE 32 Set Number of Tracks in Project 32 Displaying Channels cccccsseeeeeeseeeeeeeeeeees 32 Pyxis Track Displaying VideO c ceeeeees 34 Track COOS a eias a AEEA EO NETO 34 The Clienten Matestibensiaitenelaxs 35 Selecting Channels ccsececcsseeeeeesseeeeeaaeees 39 Solo Mute and Arm On Tactile Controller 40 Solo Mute and Arm On Screen cssecsseeeees 41 ZOOMING E E E T 42 Timescale CiSplay ccccceeessseeeeeeeeeeeeaaeeeees 43 Audio ScrollerS eee 44 Solo ANd Mute eu a 46 NAMING ess ccccceensccvecies ccrneeedevernececsteeeseeverred 52 PATCHING SIGNAL PATHG 5 54 OVERVIEW aa aa a ates aa Tah 54 The Patch Dialog ccceceeessseeeeeeeseeeeeeaaeeeees 54 The Multi Button cc ceeeeeseseeeeeeeeeeeeeeaaeeeees 57 The Info Button okretan ona 57 Reverse Patching sscccccssseecesssseeeeseseeeseees 58 TRANSPORT sects eee licences 60 Basic Transport Controls 60 JOG COMMAMNAS as cerai enine a a NENA EEEE 60 Shuttle ri e E R e 61 LOOPING T 61 Special Transport Commands s s s 62 JUMP
358. shot Every saved mix contains a snapshot of the state of the mixer when the mix was saved When a mix is loaded the mixer state is updated and all mix items are recalled So it is not necessary to write automation data for non critical items they will be reset to their correct static values when the mix is loaded Many complete mixes can be saved within a project How to Use Automation There are many styles for using automation Here is a summary of general methods Details will follow Using the XCS Auto Button Step 1 Enable parameter s see Enable Parameters below Step 2 Press the Auto button next to the Jog Wheel this puts the currently selected channel the one in the Pad into WRITE or TRIM see below Step 3 Press Play to move the transport automation data starts writing Step 4 Press Stop automation stops writing and Auto buttons are extinguished The mix items that will be recorded are those for the enabled parameters signal paths Notes You can press Auto before or after pressing Play You can also take a signal path out of record by pressing Auto again while play continues or take everything out of record by pressing the all read button See Leaving Automation Record below for other ways to exit record Using Auto Buttons Step 1 Enable parameter s see Enable Parameters below Step 2 Press Auto on one or more Faders this puts them into WRITE or TRIM see below Step
359. so on up to 9 seconds Jump 0 jump by ten seconds Jump 00 jump by one frame Jump clear jump to the previous frame edge unless already on one Locators Overview Evo provides three non permanent Locators to use freely in editing or mixing They are designed to use quickly and are not saved with the Project Marks are saved see Using Marks Page 63 TRANSPORT January 8 2013 Locators are stored using the set key next to the Numeric Keypad and recalled using the Loc key above it Get Ready Make sure the Go To menu is not active Storing Locators To store a location press the set button then press 1 2 or 3 While Set is active you can store other locations You can also use Set in momentary style Hold it down press a number then release it The system will exit Set mode Going to a Location To locate to a stored location press the Loc button then press 1 2 or 3 You can also use Loc in momentary style Hold it down press a number then release it The system will exit Loc mode You can leave the Loc button latched if you wish to use locators a lot They can be interrupted temporarily by pressing Fadersets Go To BLUE or the Set button But if you wish to use the Numeric Keypad for typing numbers you must turn Loc off Using Marks Overview Evo allows you to create up to 100 timecode Marks which are stored in the Project file Marks can be edited and named They can also be used in Jump and Go
360. sor IN OUT Limiter IN OUT Gate Expander IN OUT Dynamics Toggle Expander or Gate Each section has an independent IN OUT control All three may be active at the same time if required The transfer function of the dynamics is shown in the Mixer Screen channels the Xynergi Pad and the Dynamics Zoom screen Page 201 MIXING January 8 2013 Aux Sends Satellite AV provides 12 aux sends Each send from each channel has an independent Pre Post switch and In Out control Aux 2 send IN OUT Aux Sends Zoom Panels It is possible to see more detail when adjusting EQ Dynamics and Pan control using Zoom Panels In particular numeric values for all parameters are shown and update as they are changed To display a zoom panel do one of the following it will stay on the screen until removed e Double click a graph in the Evo Mixer Screen screen Page 202 MIXING January 8 2013 NAME Mixer Screen Double click e Right click the corresponding display in the FMC Fat Channel Dynamics FMC Right ctich Le e Double press the Path EQ Dyn Or Aux button in the XCS Panel e Double click a graph in the Evo Mixer Screen screen To remove the current zoom panel from the screen do one of the following e Right click the Zoom Panel e Click the Close box in the upper right corner of the Zoom Panel e Double press the button from Path EQ Dyn or Aux whichever is being displ
361. stment Picture Keys Track Track Track Track Track Track FFireck 1 2 4 7 9 10 11 F f A F plug cut path e dyn aux ins gate a F cas all all a fade fade nudge slip import M1 M2 solo mute solo razor layers e clip r r r r A Solo mute fame fade fade SHIFT Trk macro proj setup mon menu menu mark loop clip head tail Ctrl SEL Zoom mixer as range t Picture keys change their appearance and function according to what you are doing Their function is usually clear from the label and they can also tally on off states Some picture keys use animation to indicate warning states Bank Bank t J fa P audio play base menu record Layouts A layout is a group of keys that are presented together Some layouts include all the keys and some include only a few or even one Layouts can include picture keys and fixed keys Picture Keys by Colour Different colours are used for different types of keys as shown below Page 19 THE XYNERGI TACTILE CONTROLLER January 8 2013 Megamode Keys ron mixer Megamode keys are always green Megamodes are layouts that change the whole keyboard They are used for different areas of operation Each megamode includes where possible all the functions you need to perform its group of tasks Sometimes the same function appears on more than one megamode because it is needed in both In these cases the function always appears on the same button See
362. t and press fade tail These two commands are used to create most simple fades Press unbo this will simplify the next step Now press the copy button Locate to the middle of the clip where you placed fades Press the copy clip button Now jog about half the clip s length to the right and press Enter You have pasted a copy of the clip on top of itself The beginning of the newly pasted clip now interacts with the clip underneath inducing a crossfade You can see the line of the crossfade in the lower clip Move the top clip backwards and forwards to see how the fades interact Also go back to the Fade Menu and experiment by changing the fade in point Fade Shape Curves A fade s shape includes the following parameters X Level controls how loud the fade is compared to the full Level of the clip at the Crossover point Second clip Second clip Second clip Varying X level changes the loudness at the Crossover shown for clarity in a crossfade Page 95 EDITING January 8 2013 X Point this controls the percentage of the fade s duration when it reaches the Crossover Point First clip Second clip Second clip Second clip Varying X point moves the Crossover earlier or later in the fade shown for clarity in a crossfade Duration the total length of the fade in frames Duration is not really part of the shape but its control is close by Example Percentage 30 Attenuation 3 dB Duration 2
363. t tc SHR Track Feed tiles 1 ry H me ms me z S Ba BS PE lai Ul x x o 1 2 3 4 5 6 7 8 1 2 3 4 5 5 e fra 5 Pa S POY ray FPO fra FP Ma Po ma Le ma olf olm loli fol im z Sub bus tiles Aux bus tiles Cs ia o3 SIs e Sample Rate aux 1 GE ia aux 2 ER Fat Channel Dist Mete qualser CED Tiles A Tile shows basic information about the Feed it represents Bus tiles show only fader information Track Feed and Live Feed tiles display more information and provide control for a group of functions as shown below Page 193 MIXING January 8 2013 Dynamics In indicator only appears Click here to when any dynamics present cycle the display Solo ON OFF between Pan EQ and Dyn Mute ON OFF Fader Control Click here to add this channel to the Multi Insert IN OUT Trim group the number goes red EQ IN OUT Called Channel One channel can be controlled in detail It is the Called channel In the picture above it is Track 6 To call a channel from the mixer screen simply click on its tile or operate any of the controls inside it You can also call a channel using the CALL menu Track Feed and Live Feed Channel Tiles Each Track and Live Feed is represented with the track name and fader level plus indicators for EQ dynamics insert solo solo defeat and mute The parameter window within each channel tile provides a condensed display of
364. t the snap points to any musical interval in the bar To switch snapping on click Edit gt Snap Editing Note that several types of snap may operate at the same time e g clip and beat This can lead to conflicts if two snap points are in close proximity BPM from Range The system will calculate accurate tempos based on fitting to a range To do this mark the In and Out points of the range using the From and To keys Now enter the number of bars that should fit in the range and click the button labelled BPM from Range Audio Scrollers Audio Scrollers give you an optional close up waveform view of one or two tracks that can be useful for editing or mixing Page 44 CHANNELS January 8 2013 E edd t e die eo ie ee ie o eT A a E T aaa aA A T sa ame he ps di C die lt ua ope iot ee ew Ye he ome drow k n ee T me a i H em TTT Trt S DHK tll rete m ee LG an 0 eee saja o rmn mhas an Gii mii me ee ha e a Sem Bet GDH 9 GK JAG OO RH OOH MONDO me L bi 3 They effectively provide an extra zoom range to use on tracks of particular interest while the rest of the screen gives more contextual information To enable Scrollers use Setup gt General Preferences Scrollers Page 45 CHANNELS January 8 2013 General Preferences x Options Audiobase Playback V
365. tarting Seed Number and use the keyboard to set it You can also choose the Add Track Name checkbox When this is selected the name of the track being recorded will be prepended to the clip name as well as the other items in the seed name Click ox or press Enter to finish You can do this while in Record Note If you give more than one track the same seed name at the same time their clips increment as a group preventing repeated names Clip Naming Each clip can be given a typed name For existing clips you select them and issue the clip name command You can also name clips while they are being recorded These facilities are available in the Editor Megamode and the Record Megamode We only show the latter here because it is more convenient especially to name whilst in Record Press the green Record Megamode button to access recording functions This includes naming clips Name the Clips Select the track s whose clips you wish to name Since you re on the Arm Menu the system will also try to arm the tracks but this won t work unless they have patched inputs see How to gt Recording gt Patch Inputs for details If you want to name clips on unarmed tracks use the Edit Megamode or see below for Using the Name Menu For existing clips they must be touching the cursor or wholly inside the range In either case they will be coloured Red Press the clip name button If any clip is red or if the transport is
366. tep 1 Select a track and move a clip under the cursor Step 2 Press the trim key if not already on then press it again so that slip lights up Step 3 Press the slip clip key and hold it down Step 4 Jog or play the transport Step 5 Release the slip clip key the clip is moved by the amount you just moved the transport Head Can be used one handed or two handed The result when Enter is pressed or the Head key released is that the Head of the clip is slipped to the cursor position while the Tail position is preserved The clip gets shorter or longer and the sync moves by the difference in position between the Head before and after the edit Tail Before After Cursor Same as slip head but the tail is slipped to the cursor position Range Ranges cannot be used with slip Multiple Tracks Works as expected All the red clips will be slipped by the same amount Page 112 EDITING January 8 2013 Soft Keys in Slip Mode sync point Pressing the Slip Sync soft key allows the audio within the clip to be slipped without changing the positions of the head and tail To do this press the Slip Sync soft key move the transport and press ENTER The audio within the clip will move by the amount you just moved the transport There are limits to slipping sync Eventually the end of the recorded audio reaches the end of the clip and after that it can go no further Slip Edit Options Trim is usually applied to a sing
367. tereo buss ingle cite oto erLock 0 5 Talkback latch seconds 7 Allow Edit Function on LCD Step 2 Select the checkbox Allow PFL reserve stereo buss Step 3 Click OK Select Solo Mode Hold down a BLUE key and press the utils key to enter the Utils menu Press the Solo soft key to select the solo system to be used Unless an ALF PFL bus has been created you will not be able to selected these solo modes Soloed feeds are shown with a green indicator on the mixer screen display Solo Clear The Solo Clear button clears all currently soloed paths press the Solo Clear button again to restore the soloed channels SIP Defeat Press the SIP Defeat key in the Path Configuration section of the Channel Panel to prevent the selected feed from being muted when other feeds are put into SIP Alternatively hold down a BLUE key and press the muTE key above any fader to toggle SIP Defeat for that channel This feature is useful for keeping reverb returns live when channels feeding them are soloed SIP Defeat feeds are shown with a grey solo indicator on the mixer video display SIP Defeat is sometimes referred to as Solo Safe Naming Naming Inputs and Outputs Inputs and outputs are named outside the Evo application This is because they are a permanent fixture in the studio and it s best to have their names in a separate file WARNING what follows is a technical operation which can result in loss of resources Please
368. ternative ALT Speaker Set Get Ready Press the green Mon button Press the Mon Setup button if it s not already lit Choose Speakers Choose one of the speaker sets named on the Soft keys MAIN refers to the main speakers and the others can be called SpkrSeti 2 etc or may have been given names You can only choose speaker sets that have been defined i e given physical outputs These sets have a dim light in their soft keys To define more speaker sets press the Config Monitors soft key and work on the Mixer Screen For details about this see How to gt Monitors gt Config Speakers Page 283 MONITORS January 8 2013 Configure Monitor Speaker Sets Overview The system allows you to define many speaker sets There is always a MAIN set usually your large Control Room monitors You may also create many other sets and choose them whenever you like This guide will show you how to set up the formats outputs and names of your speaker sets Get Ready Press the green Mon button Press the Mon Setup button if it s not already lit Configure To configure speaker sets press the Config Monitors soft key and work on the Mixer Screen 0 0dB 9 0 0dB 0 0dB 0 00B nas s1053 se aosa eras noas erae noas sao a07 soso eE Studio Monitor 1 sse Choose a Speaker set at the lower left Click the Increase Format button until you see the desired format for this speaker set Select all it
369. the current settings of the Channel Panel for EQ dynamics or pan Click in the window to cycle around these three display options e EQ a graph displays the EQ transfer response Track 29 e Dynamics a simplified transfer function for compressor limiter expander gate and the various combinations of these can be displayed Live 2 DEM 22E a Page 194 MIXING January 8 2013 e Pan a miniature display of the pan surround field with the red pan position is displayed The pan position changes in real time Track 5 Buses The fader levels of the Main sub and auxiliary buses are displayed Signal level meters for the Main bus are also displayed Fat Channel The Fat Channel provides a detailed display of the signal processing and routing for the called channel Its only control functions are the fader and the Pan dot while the other graphics are for display only 7 M r i M OSC pal 20 0 0 sof a a co _ Right clicking in the EQ DYN or PAN sections causes display of the Zoom panels See below D Main The Fat Channel shows a detailed display of the parameters for the currently called signal path A signal path may be a mono live or track feed a bus or a multichannel surround format link group which can be selected and modified from a single set of controls e The user and system names of the signal path are displayed at the top left The input box
370. the pan pot A Front Back pan pot is placed full front when touched with the BLUE key down Basic Operation Fader Each fader controls the channel volume level in a range from 90 dB to 10 dB The current fader level can be read in the OLED display above more info about this below To set the fader to exactly 0 dB hold down the BLUE button and touch the fader The motors work during automation playback to track the level data recorded for the channel being controlled During automation recording the motors switch off allowing new movements to be recorded The touch sensor tells Dream II that you have touched the fader The most common use is to put the fader into automation write when you move it It is also possible to call the controlled channel to the Evo Pad by touching the fader To switch this fuction on use the call menu in the Setup Megamode Mute The Mute button is used to turn the channel on and off When the channel is muted it is equivalent to having the fader pulled right down and no signal passes from the channel to its send destination The Mute button always follows the fader See below how the fader can be reassigned to various functions in the channel in all cases the Mute button is reassigned to the same function Solo The Solo button has the general effect of isolating the soloed channel so it can be heard alone For a full discussion of how Solo works please see Solo and Mute on page 46 The OLED
371. the segment This will be the point where the chosen take goes bad or you think there might be a better performance on another take Press new split This will split all the clips and establish a new audition point Audition to find the best take for the second segment Crossfade optional When you ve decided which one it is you ve made the first edit But you may want to crossfade at this point If so you MUST do it NOW or fix it by hand later Press x fade 2 fr Of x fade 4 fr This will create an overlap and crossfade centred on the edit point The crossfade length will be 2 frames or 4 frames Page 80 RECORDING January 8 2013 Step 6 Now we are going to repeat segments 3 to 5 Find where the take goes bad Press new split Audition for the best take Press next aud as many times as you need After finding the best take press x fade 2 fr or x fade 4 fr Fault Conditions Things can sometimes go wrong especially with the crossfade interleaving Sometimes it s because you deviated from the normal command order Sometimes we don t know Below you can see some of the common fault conditions which occur with the crossfade commands Fade goes underneath Clip drops to lower layer Clip is cut off Fade on tail instead of head or vice versa All these conditions can be fixed by pressing UNDO three times then issuing the xfade command again You may need to do this twice and or say special magic wor
372. the video track the same way as they are with audio The copy and cut commands can be used as with audio to put video clips on the clipboard but unlike audio clips they can only be pasted back to the video track NOTE Cross fades between two video clips become dissolves Audio tracks and Pyxis track can be selected and edited simultaneously Editing with the Mouse Video clips can be dragged left and right but not up and down across tracks Using Pyxis Track as a Machine Selecting Pyxis Track as one of your machines allows you to take it offline the same way as physical machines For information about setting Pyxis as a machine see Machine Control page 343 Page 309 PYXIS TRACK January 8 2013 The Pan Theatre The Pan Theatre offers a combination of the 3D panner with the Pyxis window as shown below 7 3 id yi 4 I oe This allows you to adjust surround panning directly in front of the pictures You can use the mouse to move the yellow or red balls or use the regular panning controls and joystick To enable the Pan Theatre first enable the 3D panner using the System Variables dialog Step 1 Type The System Variables dialog box is displayed Page 310 PYXIS TRACK January 8 2013 Call Modes E Allow Call by Solo E Allow Call by In Line Panel 5 Allow Call by Fader Touch Allow Call by Fader and Pan Touch No Call by Touch Softpanels 7 Allow channel keyboard sof
373. ticularly useful with in sync takes which all start and end at roughly the same time We assume that each take contains roughly the same content in any segment timecode range we are simply choosing which take is the best If your work is laid out differently the Takes Editor may not help you very much Page 79 RECORDING January 8 2013 The picture above shows the start and end of the takes editing process At the beginning we have a number of takes of the same length stacked on top of each other At the end we have a composition of the takes where each segment of the performance uses the best take for that part of the audio and the segments crossfade alternately from one level to the next The takes editing process uses system scripts This makes it necessary to follow the process order very carefully Here is how we do it Step 1 Step 2 Step 3 Step 4 Step 5 Locate to the beginning left of the stack and press the new stack button You won t see any change but this is very important as it sets the audition start timecode and the interleaving order for clip crossfades Start auditioning your takes to determine the best one for the first segment Press next aud repeatedly to listen to your takes This command will pop the clip on the bottom of the stack and start playing again from the audition point Keep doing this until you have identified the best take for the first segment Find the end of
374. time and Range duration When Range is switched off these numbers show the last range that was created which can be restored by pressing the Range On key or selecting the Range On command from the Edit Menu Track and Clip Area This area shows a Selection of the available tracks and the audio clips on them A complete description of all its functions is contained in the chapter on Editing page 90 Page 8 Evo OVERVIEW January 8 2013 Timecode Display This line shows the timecode at the left and right of the screen and also at the centre line or Play Cursor position To the right of the timecode display are two lights which change colour as follows Sync shows green if the system has a viable sync signal otherwise red Position shows green if the system sees a viable position signal such as timecode or 9 pin otherwise red Status View This area shows information such as the Project name and status and alert messages from the system Starting the System Step 1 Start the host computer PC by turning on its power switch The PC will boot the Windows XP operating system and display your PC desktop Video monitor s should be powered up and displaying the Windows desktop Step 2 Power on the audio interface box es SX 20 and one or more SX 48s In most installations they can be left powered on all the time and will wake up when the PC starts up and the CC 1 board initialises Step 3 Power on the Evo mi
375. tive the REw and FF buttons show which direction the transport is moving and can be pressed to change direction while maintaining constant speed When shuttle speed is equal to play speed the Play button lights up When shuttle speed is zero the stop button lights up Loop Jog Jogging has two types linear and loop Linear jogging is just like playing but with variable speed depending how fast you turn the Jog Wheel Loop jogging plays a tight loop repeating the same section over and over at normal speed The default loop length is one frame which means one frame of audio is repeated As you turn the Jog Wheel the transport moves forwards or backwards and so does the playback loop Loop jogging sounds quite harsh but it is a very useful analytic tool for editing It allows you to hear the tone or pitch changing ina piece of audio for example the onset of sibilant speech or a chord change in an orchestral piece You can position the loop up to over or after the Cursor position i e the Play Head where editing is normally performed In other words you can hear the audio up to a cut point or over the point or after it You can also set the length of the loop from half a frame up to 20 frames Here s how Step 1 Hold down Jog Step 2 Press a button from 00 to 9 Step 3 Release Jog Page 30 THE NUMPAD January 8 2013 If you press 0 the system toggles between linear jog and loop jog at your last loop width If you press 00 th
376. to Preview Preview Audition File name Cybernetic wav MP3 mp3 AIF aif Page 164 GROUPING January 8 2013 Grouping Introduction Grouping is a fast and convenient method of controlling more than one signal path from a single fader or parameter control There are two types of groups Link Groups and Edit Groups Link groups are designed for controlling groups of feeds in multichannel formats Link groups simplify many tasks associated with working in surround formats and share many of the operational features of surround format buses Link groups can include up to eight members The simplest link group has two members and fulfils the function of a stereo channel Fader Groups are similar to other VCA or DCA grouping schemes and allow a master fader to control a group of signal paths Fader Groups can include any number of members Summary of Groups Type Member Type Master Fader Selection to Stem Structure Fold on Channel Panel Creation Link Group Live Feed or Link Group Select Master Yes Yes Track Feed Master level equal to first member Fader Group Live Feed or Fader Group Fader Group No No Track Feed Master menu key and soft Speaker Set key Link Groups Link groups allow the control of up to eight feeds with one fader They can only include track feeds or live feeds not a mixture of both Link groups can be created in any standard multichannel format or without any format Link Group Format When
377. to copy clips from other projects into the current one Mixing data can also be brought in The clips continue to reference the same media files as they did in their original project Import Clips To import clips from another project do the following Step 1 Step 2 Step 3 Step 4 Step 5 Open the Import menu using Import in the Edit Megamode Choose a file from the Open dialog and click OK This opens a file in import mode The file is known as the current Library File This file is opened as read only so you cannot edit anything Move around the Import File and locate the clip s you want to import You can use a range or not and select one or more tracks The targeted clips will be red Press the Copy soft key This will copy the targeted clips to the clipboard and will re open your original file Locate to the position where you want to paste the copied clips and press ENTER The clips are pasted The system immediately goes back to the Import File allowing you to find and copy more clips It will continue to alternate between the Import File and your current project until you select another mode The clips will be sample rate converted on import if necessary to match your current project You can go back to a Library file at any time by clicking view gt Edit Workspace Filename The Import Menu can also be used to import mix automation This is described in the section called Import Automation fro
378. total Toggle text map OFFSET 0 000000 POSTFIX off range 0 to 1 by 2 POSTFIXONLY These can be BEGIN_SEGMENT replaced with more RANGE 0 500000 1 000000 useful names here though it is probably easier to do it in the Plug in Editor SCALE 1 000000 OFFSET 0 000000 POSTFIX on POSTFIXONLY Plug ins in the ILP To control plug ins in the ILP press the Plug in button The controls for the currently selected plug in will arrange themselves on the knobs as shown on the ILP screen In future versions there will be controls for building Plug in layouts in the ILP Clip based Plug ins Plug ins may be separately applied to individual clips The sound is written into new media on the hard disk and a new clip is placed on top of the original To do this Step 1 Press the Wave key Step 2 Press the Render Plugin Soft key Step 3 Use the Jog Wheel to search for a desired plug in to be used on this clip Step 4 Press the Edit soft key to display the plug in controls Step 5 Park the timeline on the clip that you would like to process and press the Preview softkey The clip will automatically start looping and you can now adjust all parameters in real time Page 277 PLUG INS AND REWIRE January 8 2013 Music L Music R Whoosh L Whoosh R Dialog 2 Step 5 When the clip sounds the way you want press the render softkey This will directly render your plug in processing to the clip Note the original clip is stil
379. tpanels E Allow softpanels on touch E Enable joystick zoom 3 Softpanel active seconds Meters off Peak hold mode 5 0 Peak display limit dB 10 0 Seconds to retain overload Clear Peak on Record F Play V All Meters use same meter point V Launch on screen meters at Bootup Mixer Requires Restart EQ On Busses Step 2 Check the 3D Panner checkbox Step 3 Close the System Variables dialog MADI Channels 56 64 Automation Enable automation 10 Glide in time Frames 10 Glide out time Frames Ee Mix Edit Handles Frames Enable automation optimisation Save automation with project Target Both as Default Oscillator 20 0 Oscillator level dB 1000 Oscillator frequency Noise White Pink Metron Main VUFollows 20 0 VU reference level dB 0 0 VU Trim left dB 0 0 VU Trim right dB V Digital VU meters Now open the 3D Panner by double clicking the Pan Graph in Evo Mixer Screen right clicking the Pan graph in FMC or double pressing the Path button in Evo XCS Page 311 PYXIS TRACK January 8 2013 FX Stereo 1 and click the video button The Pyxis Window will now display the Pan Theatre Page 312 MIDI TRACKS January 8 2013 MIDI Tracks Introduction A licence is required to access the MIDI features so what follows only applies if you have purchased it Any number of tracks on the Edit Screen can be made into MIDI tracks by default t
380. track on the Editing Screen but avoid clips The last track you select in this way becomes the Current Track Mix To select for mixing do one of the following e Press a Evo track live or bus button in the Mixer or Setup Megamode How to Call To Call a channel do one of the following e Press the cali button in the Setup Megamode and select one channel e Press the cat button on a fader Page 11 SELECTION AND CALLING January 8 2013 e In the Evo Mixer Screen screen click on a channel name e In the Evo Mixer Screen screen double click on a channel s Pan EQ Dynamics Aux or Plug in graph e In the ILP2 screen click on a channel name e In the FMC screen click on a channel tile Mix Follows Edit Its often useful to select channels for mixing and editing at the same time This is called Mix Follows Edit For one thing it s simple For another you don t need to remember all the different ways of selecting For standalone Evo systems it s the recommended way to go As we add more faders and panels to a system it becomes a less obvious choice If you like to deal with one channel at a time most of the time go with Mix Follows Edit If you like to have different channels doing different things turn it off If you work with another person it s often best to turn it off to reduce the likelihood To enable Mix Follows Edit do the following Step 1 Open the System Variables screen by typing ctr
381. type a timecode from point The numbers will be displayed over the Edit Screen Now press Enter to lock in your from point For another useful feature press the gap soft key The range will expand to the left to reach the first moment of silence no clip in that direction Press it again to find the following gap in that direction Page 92 EDITING January 8 2013 Trimming clips Overview A clip is the visual representation of a real piece of recorded audio located on hard disk Editing a clip means changing which part of the recorded audio is played When cutting or erasing parts of a clip you are reducing the amount of accessed audio Trimming a clip also means changing which part is accessed but you can increase or decrease the length that is played This is done by relocating the clip s head and tail thereby exposing more or less of the stored audio Get Ready Press the green Editor button Operation Press the trim button If the word slip is highlighted press it again so that trim is highlighted Locate the transport so that the cursor crosses the middle of at least one clip Identify the track containing that clip and double press its button to make it the only selected track If necessary use the Bank key Press and release trim head The head of the clip is trimmed back to the cursor location Jog back a bit and press Enter The head is extended to the new position You can do this as many times as you like
382. uary 8 2013 you wish to delete Step 3 Turn the jog wheel to scroll through the list of available library presets for the selected type Step 4 Press the Delete soft key then press the ves soft key to confirm the operation Page 223 THE IN LINE PANEL ILP2 January 8 2013 The In Line Panel ILP2 Introduction Percussion A Percussion B The In Line Panel ILP2 is an optional hardware panel providing controls for a number of signal paths at the same time normally the ones belonging to the faders directly underneath It can also be expanded to show more information about one channel CECCCCCO Each physical button and knob on the surface is shown on the screen above giving you information about its function current parameter value automation status and more Different operational modes are offered They include Strip Mode Channel Mode and Master Mode as summarized below Detailed instructions are found later in this chapter Page 224 THE IN LINE PANEL ILP2 January 8 2013 Strip Mode Strip Mode is the default operational mode for the ILP Each column of four knobs and buttons is connected to the fader strip immediately below The columns are all alike controlling the same parameters for each channel o no i 56 Ao In the illustration above the strips are controlling Compressor settings for the 12 signal paths on the faders below The ALT Button While the ant button is held down a differe
383. udio from all tracks will be copied whether selected or not plus the automation from all signal paths and all parameters whether enabled or not You can also use this command to copy a project segment from an import project and paste it into the main workspace Import Automation from Another Project The Import Menu can be used to bring audio clips in from another project This is described in the section Importing Clips from Other Projects on page 132 It can also be used to import mix automation The procedure is as follows Step 1 Open the Import menu using Import in the Edit Megamode Step 2 Press the open soft key choose a file from the Open dialog and click OK This opens the Import File i e the one from which you will import Page 256 Step 3 Step 4 Step 5 Step 6 Step 7 Step 8 Step 9 Step 10 AUTOMATION January 8 2013 Press the Mix soft key This will cause a new menu to be displayed in the Pad Press the Select Mix soft key This will cause the names of the available Mix files to be displayed in the Pad Spin the Jog Wheel until the mix you want is displayed in the Pad Press Enter to load the displayed mix Select the tracks and the range that will be the source of your Mix copy Press the Copy Mix soft key The system will now return to your original project Select the tracks where you want to paste the imported mix data Press the Paste Mix soft key The mix data will be pasted on your s
384. ug ins Click on the Move Up or Move Down icon to change the processing order Click on the Insert Bypass icon of any plug in to bypass its processing Using the Library Saving a Plug in preset in the Library is a great way of managing plug ins You can save any plug in or chain of plug ins with their current values as a Library preset This makes it very easy to load plug ins into any track or live feed partly because the Library page shows an array of named presets at the same time For instructions on using the Library see page 220 Sending an Aux to a Plug in Patch an Aux Output to the Input of a Live Feed using the Patch I O screen Use a stereo Aux and two Live Feeds if the Plug in is stereo Page 271 PLUG INS AND REWIRE January 8 2013 Add a Plug in to the Live Feed using the method described above Now all channels feeding the Aux will be routed through the VST Plug in to the output of the Live Feed Assign the Live Feed to the Bus where the Plug in output is required Controlling Plug ins on the Pad When the Plug in button is pressed the Pad rotary controls are focused on the current Plug in Each rotary control has two functions one normal function and one ALT function which is executed by holding down the ALT button and operating the rotary control The graphical control for the plug in can be placed in the Pad area by pressing the Plug in button a second time Specific parts can be enlarged by m
385. uide will show you how to de assign paths from selected elements of a Bus Note you must assign the paths to the Bus before using Stem Assign To use Stem Assign Step 1 Press the green Setup button Step 2 Press the Stem Assign button Step 3 Select the destination bus Step 4 Select some Tracks Or Live Feeds that are already assigned to that bus The speaker icons below represent the Bus Elements Press a speaker and it gets a red cross That element is no longer assigned Step 5 Use Bank and Tracks Or Lives to reach more paths Note if the red crosses won t go away when you select your bus and your paths they are probably not assigned Step 6 Press Exit to finish Bus Params Overview Bus Params allows you to toggle pre post for a number of paths at the same time Page 183 MIXING January 8 2013 For Aux Buses pre means that the aux send goes before the channel fader send and before the channel mute button Post means the opposite For Reduction Buses pre means the send to the reduction bus is completely independent of the Main bus while post means that the Reduction Bus fader is an offset to the Main bus fader In both instances post is the more common setting except where Aux buses are being used for headphone cue mixes in which case they are usually independent of the main mix To use Bus Params Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Step 7 Press the green Setup button Press the Bus Pa
386. unction The Panpot default function is controlling the Left Right Pan position of each channel It can also control many other mix parameters To change the Panpot function Step 1 Hold down BLUE and the 1 Pot button The OLEDs display all the functions which can be controlled by the Panpot Page 215 Step 2 Step 4 MIXING January 8 2013 The XCS panel displays all the parameters the pot can control Select one of these by pressing its button Release the Pot button The OLED display names the function you are controlling with the panpot and shows a graphic display of the current parameter value Note Simply pressing and releasing the Pot button toggles between the standard function Pan L R and the most recent non standard function that you used If you have not used any non standard function it toggles between Pane L R and Pan F B front back You can also change Pot function on the Evo Center Section Step 1 Step 2 Step 3 Step 4 Select the Mixer Megamode on the Evo surface Hold down the Pot button by default it is labeled Pot L R Select from the available functions that appear on the Evo buttons Release the Pot button Fader Function The standard fader function is to control the send level of the channel to its assigned buses i e Main Bus and sub busses Faders can also control a number of other parameters To change the function of the faders Step 1 Step 2 Step 3 Step 4 Select the Mixer Mega
387. ur network and are accessible to all users ClipStores can be created at any time using File gt New Clipstore Clipstore files have the extension CLIPS To open a ClipStore use File gt Open Clipstore and browse to the file you want The project remembers which ClipStores have been used recently these can be accessed via the File Menu also Multiple ClipStores can be opened at the same time and by multiple users To place clips in a ClipStore select them then use Clip Publish Clips to Clipstore While this dialog is open you can choose which of the open ClipStores to target If you have selected multiple clips you can save them as a Grouped Clip and give them a name If your ClipStore is to be shared on a network the Publish Media as Well checkbox should be used so that the media is placed in the appropriate folder under the ClipStore file This will allow users from anywhere on the network to audition and paste the audio Multiple users can publish at a most the same time to the same ClipStore Because the clip metadata is very small the ClipStore is only opened for Write for a short time making clashes between users relatively unlikely If a clash occurs the later publish command will be held off until the earlier one is finished which will hang the late publishing system for a short period To access audio from an open Clipstore open the Clip Search dialog in one of the following ways Press GoTo gt Clip Click Vi
388. ure below has been trimmed to save space the real display is larger Page 273 PLUG INS AND REWIRE January 8 2013 x 2 UN 3 UN pa 5 sw4 6 LIN mA SWITCH vanen Art SWITCH Using the Plug in Editor Overview choose a parameter then touch the Pad control where you want it assigned Choosing a Parameter You may choose a parameter by clicking its tile with the mouse Alternatively you may wiggle any control or switch on the plug in s graphic display and it will be chosen by the software For a switch it is enough to toggle it For a continuous control the value must be changed Choosing the Pad Control For a normal control just touch it For an ALT control hold down the ALT button and touch the rotary control The parameter is immediately assigned and you may test that the control works WARNING Don t touch any other controls or the parameter will be moved to them The name assigned to the control will be the same as the one shown on the tile Note these names are supplied by the plug in manufacturer and do not always match what you see in the graphics display You can change the displayed name later as shown below Setting Control Type Once a parameter is assigned to a control you may choose the control type By default controls are assigned as Linear even if they have previously been assigned as Toggles or Multi Switches To set the control type click on one of the Control Type b
389. us elements starting at the top of the selected buses e With Meter Set selected select one Meter Set or a number of Main and Sub buses Meter Sets cannot be added to other sets or buses Page 289 METERS January 8 2013 mu mu Em un DI mn mE oo Choose a meter set here Click here to define the current Define meter set ALX Click here to display Meter Set a instead of meter sets Metering History The Master Screen Meters keep a history of the ten loudest peaks for each meter with the timecode where each peak occurred The peaks camn be displayed in order of loudness Overshoots of up to 8 6 dB are shown although the audio is actually clamped to 0 dB at the channel output To display history click in the Peak or RMS level display for a meter Page 290 METERS January 8 2013 Click here to delete 100 100 100 100 cearMax history and start again Also clears 100 100 100 100 eal peaks and displayed z maximum values Click any one of these fields to display or hide Peak or RMS history Peak History Main F O0 09 02 14 2 4 dB 00 09 02 14 2 1 dB 0009 02 13 1 7 dB 00 09 02 00 09 02 12 00 08 59 13 gt 3 2 dB 0008 53 07 gt 3 4 dB 00 08 54 20 gt 3 5 dB O0 09 01 11 gt 3 6 dB 00 08 49 22 gt 3 6 dB Click on any timecode to locate there Meter Sets A meter set contains eight sources which cqn come from a combinat
390. utton that is inside a Link Group The Link Group is suspended and the track you pressed becomes the Current Path Reinstating a Suspended Link Group Suspended groups can be reinstated at any time until the project is closed or until one of the members is used in another Link Group Step 1 Hold down the BLUE button Step 2 Press a track button that was inside a Link Group before it was suspended The Link Group is reinstated and becomes the Current Path Panning Link Groups When a Link Group is the Current Path the pan controls act on each Link Group member at the same time The system maintains a Spread Box for each Link Group which affects panning behaviour Page 169 GROUPING January 8 2013 E bavxbx 3131 bzvxbx 3k3 I Link Group with default panning Spread box is set to maximum size so Link Group members are panned as wide as possible 100F 2 bavxbx 313 1 bzvxbx 3k3 Spread box is set to 70 so members are brought inwards Now the whole Spread box can be moved LR and FB The Spread Control The spread control is only available when a link group is selected The spread control adjusts the perceived size of a surround mix The spread control range is from 0 to 100 At 0 the display reads POINT meaning point source At 100 the display reads FULL meaning full surround At FULL spread the Page 170 GROUPING January 8 2013 LR and FB pan controls have no effect as each member of the
391. uttons below The Multi Switch buttons are labelled switch 3 Switch 4 etc up to Switch 10 EA Sti lt OFF state m ON State off off on When you choose Toggle the system displays dialog where the toggle display names can be set By default these are shown as xx You may replace them by e Typing new names Page 274 PLUG INS AND REWIRE January 8 2013 e Clicking the Learn button to try automatically naming them e Clicking the Off On button to set the values to off and on What happens when you press the Learn button Evo sends an off value to the plug in then an on value It waits to see if the plug in sends return messages If this happens the messages may contain useful toggle names but it is not mandatory in the VST specification for this to be provided and many manufacturers just send a value like 0 or 1 or nothing at all It s worth a try Renaming a Control By default a control is given the name on the tile used to select it These names are supplied by the plug in manufacturer To rename a control click the Rename button then type your desired name and click ox Erasing a Control There is no explicit command to erase a control but you can do it by assigning a parameter then moving it somewhere else This leaves the first control unassigned Setting a Zoom Window Each page of the plug in layout may contain two built in zoom settings one for normal controls and one for ALT controls To
392. valid Position Sync Source reference is detected and red when the Position Sync Source is missing or invalid Synchronization Details Evo can track the position and motion of external transports such as a video tape recorder timecode striped audio tape or a timecode generator The disk recorder will play in time with the Master Timecode source so that sound and picture coincide Position This is an absolute location reference to a sequence of pictures or audio It is used to determine whether the disk recorder is playing the right part of its Project For video position reference is usually provided by 9 pin Sony protocol from an RS 422 port For audio tapes LTC is normally used though 9 pin is also a possibility Motion The motion of an external machine is a measure of its speed and the disk recorder must move at the same speed to remain in sync This translates into producing the correct number of samples every second which is called the Master Clock rate This can be locked to a Digital Word Clock a video signal an AES EBU signal by the internal crystal a timecode source or a digital audio source which is being recorded If the Position Reference and Motion References are not the same it is possible that they will drift apart over time This will be shown by a warning at the top of Evo s video screen which indicates when an in consistent timecode frame was encountered How Evo Synchronises Evo goes through a number of
393. value For switches which cycle through a number of values pressing the switch will set all members to the next value of the Group Master e Holding down BLUE while touching controls for faders and aux sends sets them to 0 dB It also sets all group members to 0 dB removing any differences between their values e The MUTE and SOLO keys on the Master Fader section indicate the mute and solo status of all the members e When the group is created the channel Soft Pot is set to the position of the first feed in the group When itis adjusted the values of the Soft Pot parameters of all the members of the group are offset The channel Soft Key displays the setting of the Soft Key parameter of the first member of the group e The AUTO key on the Master Fader section enables automation recording for the link group master which will control all the members Only the Link Group master actually records automation data and any existing data for the other group members is erased when the master enters automation WRITE e When selected a link group is displayed in the Fat Channel display at the bottom of the Mixer Screen The display shows input patching and destinations for the entire group Page 166 GROUPING January 8 2013 Creating a Link Group Step 1 Press the Setup Megamode button Step 2 Press the Link Gp button The feeds that currently belong to link groups are shown in yellow or brown Feeds available for selection are shown in dark blue
394. ved Page 138 EDITING January 8 2013 Mouse Jogging When the Jog button is toggled on you may move the transport as usual with the Jog Wheel or right click and drag it with the mouse in order to hear audio Zooming To Zoom the tracks horizontally turn the Mouse Wheel To Zoom the tracks vertically hold the ctri button down and turn the Mouse Wheel Track Selection There are two ways to select tracks with the mouse e Click anywhere in a track This will select that track and deselect all others e Click any track number to toggle its selection This does not affect the selection of other tracks Double click a track number to make it the sole selection There are also short cuts for selecting multiple tracks e Click empty space in a track not on a clip and drag upwards or downwards Every track you touch will be selected and all others will be deselected If you drag sideways as well you will make a range e Hold the ctrl key and click empty space on any number of tracks Each track you click is added to the selection e Click a track number and drag upwards or downwards Each track number you reach will be added to the selection This does not affect selection of untouched tracks Mouse Based Ranges A range is a time interval bounded by an In Time and an Out Time It can be used to edit multiple clips and parts of clips The mouse can be used at any time to create a range Simply click an empty space one wh
395. ven tabs the track colour special colours To select track colours Step 1 Select tracks you want to colour Step 2 Use the menu Tracks Set Track Colour Tracks Add Pyxis Track Delete Pyxis Track Convert To or From Midi Tracks Set Audio Track Count Rename Track Set Record Seed Name Click to choose a colour for all selected Add Clip tracks Set Display Level Arm Tracks Solo Tracks Mute Tracks Safe Tracks Click to display a mixer for special colours Select All Yiewed Tracks Custom Colour A Enforce When you choose a track colour all clips on the track that currently have its old colour are given its new colour This applies to all clips for which you have never explicitly chosen a colour The Clip When audio is recorded or imported into Evo it is displayed as a clip The clip is a reference to the audio data stored on disk Clips can be cut copied or moved without affecting the original audio data Page 35 CHANNELS January 8 2013 When new clips are recorded or pasted above existing clips the clips become layered one above the other Normally only the top clip is seen and heard during play back DREAM II now allows all layers to be seen simultaneously Display Layering To do this e Double press the button in the Editor Megamode e Click the button in the Toolbar Layering button Select gt from the Menu Bar While Display Layering is on you can drag clips from one
396. ven if razor was not ON when the clips were cut to the clipboard cut and paste are really independent commands each responsive to the razor setting Track Up down Button Page 107 EDITING January 8 2013 A handy device for moving between tracks is the track up down button If you hold it down and turn the Jog Wheel the whole track selection will move up or down You can also use the or keys and the Numpad with the track up down button Two Handed Editing Using two hands for cut and paste can save a lot of time The key is to hold down the action key cut head trim tail copy clip erase range etc then select the destination timecode and tracks then release the action key to paste the clipboard Example 1 Press down the cut clip key don t release it yet With your other hand jog the transport forward Release the cut clip key the clip you cut is now pasted where you jogged Example 2 Press down the cut clip key With the same hand press down the track up down button With your other hand turn the jogger wheel to change the track selection Release the cut clip key the clip you cut is now pasted on a different track With practice two handed editing can substantially increase your efficiency at repetitive editing tasks Copy Copy works exactly the same way as Cut except that the audio is not removed to place it on the clipboard only copied Pasting after copy is the same as after cut
397. vices shown above and its folders will be displayed Now you can select folders and click Stop scanning selected folders Page 329 PROJECT AND FILE MANAGEMENT January 8 2013 Clicking Reveal folder will open a Windows Explorer window showing the selected folder and its contents Double clicking a folder in the list of Scanned Folders will display its subfolders if any in the Subfolders window and the projects if any contained inside it in the Projects window Select a project in the right hand list then click List Media in Project to display a new window containing all media in the Media folder of the project Click Delete Project to remove the project from the hard disk You will be prompted to remove all the media in the Media folder Discarding Unused Media It is possible to create a number of recordings which end up not being used To remove these from your hard disk automatically select a project and use the command Setup Media and Project Management Discard Unused Media NLY Diana frango Pyxis NLY v2 0rc2 24000 clip project DR2 Dream II v1 50 3 rc11 Testing Dream II 1 60 0b29 Dream II v2 1 0b5 XXXXX xxx File D FairlightAU Projects Plugin builder DR2 Dream II v2 0 1 Ney Project MT MT Project Vey large MT MT MT Project Hubble Briefcase Javanese Lazy Days Localise test 4 list Media Discard unused media Delete Selected Project Discard command This command moves the unuse
398. w Note NO AUDIO OR VIDEO PLAYBACK OCCURS WHILE THE MIDI NOTE EDITOR IS OPEN Page 316 MIDI TRACKS January 8 2013 The Edit Events button toggles the Edit Screen between the MIDI Note Editor and the normal Track Display MIDI Events Play head Current length of MIDI clip being edited The Play Head is set to Unlocked when you enter the MIDI Note Editor This is to allow easy editing of MIDI events while in Play The lighter background shows the current length of the MIDI clip Notes can be outside this area if you have trimmed the original MIDI clip or copied its tail etc You can edit notes inside and outside the area The notes outside the area cannot be heard in the MIDI Note Editor or the normal Track Display Notes can be dragged horizontally in time or vertically in pitch Ranges of notes can also be selected with a mouse lasso marquee and dragged horizontally or vertically Notes dragged outside the limits of the MIDI clip will not be heard after editing but they are not erased The Note Editor Smart Pane SEES ssl T Commands in the Note Editor Smart Pane are issued by clicking on the buttons Notes can be selected by moving the transport over them like audio clips In addition you can select a range of notes in time and in pitch with the mouse lasso The commands are described in detail below Page 317 MIDI TRACKS m S ar January 8 2013 Quantizes the selected note s to the current PARE E
399. would be visible in the Cross Fade Smart Pane To view this click view gt Smart Pane Cross Fade Fade Tail As Fade Head Split Clip This command breaks clips into two pieces This will happen to all clips on selected tracks that are touched by the Play Head Trim Head This command trims the Head of the clip s touching the cursor on selected tracks The clip is trimmed at the Play Head position Trim Tail As Trim Head Nudge The command moves selected clips forward or backward by one frame If there is no range it will affect clips on selected tracks touching the Play Head If there is a range it will affect all clips that are wholly inside the range on selected tracks Mute Clip This command toggles the Mute state of the selected clip s When a clip is muted it is shown darker and its audio is not heard If there is a range this command affects clips that are wholly inside the range on selected tracks Page 145 EDITING January 8 2013 Name Clip Opens a dialog where you can rename clips Clip Level Opens a dialog where you can set the volume level of selected clips Add Mark Adds a timecode Mark to the timeline This can be used for location either by jumping or by locating to Marks They can also be named To see a list of Marks rename or locate to them click view Marks Jump to Mark Moves the transport to the next or previous timecode Mark Jump to Point Moves the transport to the next o
400. x soft key to complete the operation The rules are detailed above in the section about the Mix Menu Automation follows Clip Editing In addition to the Mix Copy functions it is also possible to edit automation data whilst editing the audio For Clips or Ranges of Clips their corresponding mix data can be Copied or Cut to another position if Data is included on the Edit Target key Step 1 Press the Mix Menu button Step 2 Press the Target soft key until both is selected Step 2 Edit audio in the usual ways and all enabled automation data for the sections of track you are editing will also be edited Note When a range is selected automation data is cut copied and pasted for the entire range whether or not clips are present Undoing the audio edit will also undo the automation change Copy Project Segment This command in the Edit Menu copies all audio and automation data on all channels in the system from a range to the cursor position To do this Step 1 Make a range around the segment you want to copy Step 2 Click Edit gt Copy Project Segment Step 3 Locate to the timecode where you want to paste Step 4 Paste the clipboard using any of the following Click Edit gt Paste Press Enter on the Xynergi Type ctrl v on a qwerty keyboard the first copies the clips and all automation in a range into the clipboard which can then be manually pasted at the playhead The copy is still selection independent The a
401. xer surface Step 4 Start the Evo application by e double clicking its desktop icon 2 e by Selecting it in the Start Menu under the Fairlight group If the system is correctly configured the FMC mixer application will also start automatically with Dream II System Shutdown Step 1 Exit Evo by selecting Exit from the File Menu or by clicking the Edit Screen close box or by the keystroke combination Alt F4 when the edit screen is in focus click anywhere on that screen to bring it into focus if necessary Step 2 If a project is open the system will prompt you to save any changes that have occurred since it was opened CN 2 2 The current project has been modified Would you like to save it now Click Yes if you want to save the changes in the project This may take a minute or so during which a progress bar will grow in size Step 3 You may now power down the Evo surface and shut down your PC if desired It is Page 9 Evo OVERVIEW January 8 2013 recommended that the audio interface boxes remain powered up unless you are dismantling the installation Graphic Themes Evo allows a choice of colour schemes which are called themes Three themes are provided The most common choice is the Solo theme which will be preset on your system It has the latest features particularly for mouse editing To choose a theme do the following Step 1 Click the Setup menu item above the Edit Screen Step 2 Click General Pr
402. y Press the green button Operation Press the button Locate the transport so that the cursor crosses the middle of at least one clip Identify the track containing that clip and double press its button to make it the only selected track If necessary use the key The target clip should now be the only clip on the screen means ready to edit Press the soft key At the top of the Edit Screen the value grid shows the EQ parameters of the red clip Page 99 EDITING January 8 2013 Range Filter Type Frequency Gain Q Factor Enables Press a number in the Numeric Keypad to access the same position in the value grid Now use the Jog Wheel to change it You can hear the changes by playing over the clip Hint while over the clip hold down BLUE and press the loop clip button When all parameters are set press the apply soft key or Enter If you want to escape without changing the Clip EQ settings press Edit again Clip EQ is explored in much more detail later in this chapter Razor Cuts Overview Normal non razor editing targets red clips but does not affect other clips This works well for video based editing where the sound is synchronised to fixed picture frames When working on radio spots interviews and music pieces we sometimes need to cut time as well as audio This is just like people used to do on tape The razor mode causes time to be manipulated as well as audio When you cut audio the time it occupi
403. y default To select another setting hold down the BLUE key and press the Monitor soft key Now turn the Jog Wheel to cycle through the possibilities Press ENTER to select one of them The Monitor settings work as follows Input always monitors the input to the track Auto monitors repro in Play or Jog otherwise input Record mutes the track when stopped otherwise as AUTO Mute mutes the track while in Record otherwise repro Repro always monitors recorded audio Tape Mode Overview When Tape Mode is selected you can punch in on existing Tape Mode clips and replace the audio media This can save filling up disks with unwanted material and results in a cleaner simpler project with fewer clips Press the green Record Megamode button to access recording functions The Arm menu will be automatically selected Press the Record soft key so that Tape is displayed You can also select Tape Mode by selecting Process Tape Mode Tape Mode Using Tape Mode If you punch into record over existing Tape Mode clips shown yellow the audio media will be replaced as you record If you continue to record past the end of the clip it will be extended If you punch into record in empty track space or over an Edit Mode clip shown red or blue the system will create a new Tape Mode clip Note if you extend beyond the end of a clip you may be overwriting media that has been trimmed from the end of the clip This is illust
404. y Jog key unless already in Jog in which case it enters Play e Click the Jog button above the Edit Screen Holding the BLUE or ctri key while jogging increases the jog speed by five times Holding down the sutrr key while jogging increases the jog speed by 64 times Holding down the sHIFT and ctri keys while jogging increases the jog speed by 512 times Loop Jog Loop Jog is a unique transport mode where jogging becomes a playspeed loop which is moved backwards and forwards It s great for detecting pitch changes in music sibilance in speech or other changes in tone To toggle this on and off hold down the Jog key and press the Loop soft key to choose Loop On or Off Other options in this menu Follow Zoom Toggles follow zoom on and off When on the gear ratio of the jog wheel is affected by the zoom setting this is the default mode Loop On Toggles the loop on and off Loop Width sets the size of the loop in milliseconds About 40 ms seems best for most things but occasionally very long loops are good for setting clip EQ or fade values sets the position of the loop in relation to the cursor The most common setting is pre where the loop comes up to the cursor from before it but the other values can also be useful this setting affects how fast the Jog Wheel needs to be turned to achieve a particular transport speed Page 60 TRANSPORT January 8 2013 Loop Jogging is very useful but it sounds quite ha
405. y and level use Utils in the Setup Megamode To route the Oscillator to a bus first patch it to Talkback 2 on the Patch Screen press patch in the Mixer or Record Megamode then connect Talkback 2 to the desired bus as follows e Hold down BLUE and press Talk e Select the Bus es to be destinations for Talkback 2 e Press Exit Page 210 MIXING January 8 2013 Noise Generator The system noise generator is toggled on and off in the Mixer or Record Megamode using the osc button To set noise type pink or white and level use Utils in the Setup Megamode Patching the noise generator to any point in the system is done using the Patch page in the same way as for the oscillator Faders Introduction Evo has groups of 12 faders for individual feeds buses or groups Fader Controls OLED Soft Pot normally Left Right Pan Control but switchable to other functions Solo toggle Mute toggle AUTO button channel enters automation write trim preview Blue A CALL button brings channel to PAD ILP screen Pr etc A Fader Set Buttons Fader controls level or other choices N N N a amp 3 i z q Page 211 MIXING January 8 2013 Zero Faders and Pan Pots A fader can be set to exactly zero dB by holding down the BLUE key and touching the fader Similarly the Left Right pan pot can be placed exactly in its centre position by holding down the BLUE key and touching
406. y of the edit list to disk and can be recalled later if need Redo reverses the effect of the last undo You can see a list of the available undo steps in your project using Edit Undo List You can see a list of the available redo steps in your project using Edit gt Redo List Erase Selected If there is no range this command will erase all clips on selected tracks that are touching the Play Head These clips are coloured red Warning This may include clips on tracks that are not visible at the time If there is a range this command will erase all clips and parts of clip on selected tracks that lie inside the range The same warning applies Cut Selected Cut is the same as Erase except that the clips are removed and placed on the clipboard ready to paste into the project at any time and on any track s If there is no range this command will cut all clips on selected tracks that are touching the Play Head These clips are coloured red Warning This may include clips on tracks that are not visible at the time If there is a range this command will cut all clips and parts of clip on selected tracks that lie inside the range The same warning applies Copy Selected Cut is the same as Cut except that the clips are not removed from their original position They are copied to the clipboard ready to paste into the project at any time and on any track s If there is no range this command will copy all clips on selected tracks that a
407. y on your Evo controller followed by the New softkey or select File gt New from the Evo pulldown menu You will see the following dialog Will appear in title bar Choose a Project Type MT or DR2 By default your project is created in its own subfolder named with the Project Name This is the recommended practice as it helps keep your Evo system organized If you prefer you can place your projects elsewhere as long as you select a designated Media Device If you enter a comment this text will appear in the Title Bar of the Edit screen whenever the project is loaded Give your project a name and select the appropriate options You are ready to begin Page 328 PROJECT AND FILE MANAGEMENT Backup Project to Folder January 8 2013 Both MT files and DR2 files can be backed up using File Backup Project to Folder option This feature copies the project file and all the associated media files audio and video to the designated folders Backup Project to Folder places all files associated with a project in a single place making it easy to restore them later Many facilities use inexpensive USB drives for backup Restoring files is simply a matter of dragging and dropping files from the backup folder to the appropriate Audio and Video Media Devices Media Scanning Normally the system scans all available media to ensure that it is up to date with available files This takes some system
408. y or Stop and can punch out with gapless monitoring of playback There are two recording modes New and Tape Mode The choice is made with a soft key in the Arm Menu In New Mode each time a track enters record a new clip is created on that track If there is already a clip present the new one goes on top of the previous one The upper clip is always heard on playback In Tape Mode existing audio can be destructively replaced See the section on Tape Mode below To record on a track it must be armed Before being armed a track must have a source or patched input Patching Inputs Before you can record on a track it needs an audio source called an Input This could be a physical input or an internal path in the system such as a Bus element or an insert send The next section Patch Inputs to Tracks explains patching in detail Here we will just get something patched and move on to recording Display the Patch I O screen by doing one of the following e Press the Patch button in the Record or Mixer Megamode e Click the Patch icon in the toolbar Patch Button 04 37 00 08 Ogc_6122 e Select Mixer gt Patching The Mixer Screen shows a Patching dialog We are going to patch connect a physical input to the track where it will be recorded Page 69 RECORDING January 8 2013 Ensure Track Input is selected at the lower right then select a track number to be recorded in the upper right Info In
409. y pasting a copy of a section of a clip onto itself you are able to change the level of the copy to create a level change If the copy is cross faded with the original a smooth level transition results When using the copy and paste functions be sure to be in stop otherwise a slight movement of the jogger wheel may result in phasing during the fades The same technique can be used to fade one clip EQ setting to another within the same piece of audio In the above illustration the top layer plays the same audio as the bottom layer but may have different level or EQ settings During the fade in and fade out the settings will effectively crossfade Clip Level Each clip has a volume level that you can set This is a quick and easy alternative to fader automation for many situations To set the level of a clip Step 1 Step 2 Step 3 Step 4 Step 5 Select a track and move a clip under the cursor Press the clip level button if not already on Press the Clip Set soft key A dialog in Edit screen shows the current clip level Change it using the Jog Wheel not if the transport is in Jog mode or the Numeric Keypad it must be available for parameter entry i e not used by Loc Set Fader Sets etc Press the Enter button It is also possible to trim the clip level i e move it up and down rather than set an absolute value Use the Trim Clip command for this When using a range all the clips that are wholly inside the range ca
410. y preset Fade Presets To load a custom preset Step 1 Press the preset soft key Step 2 Press custom preset Step 3 Turn the Jogger Wheel and as each custom preset is displayed itis also loaded Stop when you have loaded the one you want Alternatively use the custom presets pulldown menu in the Fades display Presets dead l Tail B Click to load a custom preset iwation Trim Save 4 Ln T D D T Capture ie Click to type a new name for a Delete custom preset then click Save To save a custom preset Step 1 Set up the fade shapes you want to save Step 2 Press the preset soft key Step 3 Press save preset Step 4 Type a name for the new custom preset and press the Enter key Page 119 EDITING January 8 2013 Alternatively use the custom presets pulldown menu in the Fades display as shown above Capturing Shapes To capture a fade means to extract all of its parameters making them available to apply to other clips Step 1 Click the capture button This will cause it to flash Step 2 Click the Clip Head or Tail button to capture the fade length and shape from the current clip The current clip is the one currently touching the play head on the active track Having captured those values you can apply them to any other red clip by clicking the Clip button Untick shape or length if you don t want to apply it Cross Fades If a fade is placed on a clip and there is another clip layered under
411. you want the exported audio to go and hit OK Channels Allows you to select the format of the files being created by export Channels Single Multichannel File fall selected tracks Mono Files 1 per track Stereo files 1 per track pair Wena Mono Stereo Files automatically choose Mix Tracks to a single Mono File gagy ag aMi Tracks to a single Stereo File Dur Oooo Mix Tracks to Mono or Stereo tautomaticall eee single Multichannel File Call selected tracks 1 Tracks Mono files 1 per track Creates a single mono media file for each track in the export i e all tracks or selected tracks depending whether the Selected Tracks Only checkbox is selected Stereo files 1 per track pair Page 336 PROJECT AND FILE MANAGEMENT January 8 2013 For each pair of tracks in the export a single stereo media file is created Mono Stereo files automatically choose If a track is mono and contains no multi channel clips its contents will be exported as a stereo media file If a pair of tracks are linked as a Link Group their contents will be exported as a stereo media file If a track contains a two channel clip its contents will be exported as a stereo media file Mix Track to a single Mono File All tracks in the export are mixed together to form a mono mix and this is recorded into a mono media file Mix Track to a single Stereo File All tracks in the export are mixed together to form a stereo mix a

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