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FAME Mix Automation V3.1

1. _ SOURCE INSERT LEFT LEFT amp INSERT IN METER POWER MAIN SEND RETURN L ON MUTE EXT L ec 3 e e gt DERIVED L re LEFT MAIN OUTPUT ak gt soor E D gt RDAC amp LEFTNEARFIELD OUTPUT RET T B L BUS STEREO EXTL NOISE L SOURCE INSERT RIGHT Ie INSERT IN RIGHT POWER MAIN END RETURN L PHASE ON MUTE S U EXT R es gt lt oy DERIVED R m
2. Se22e2e2eneeeaRne808 ee ee oe pale aera tandem with the Editing yyy CET Console s transport keys S eS PS PN PS PS PS UN e m am er 2S Oe Oe Oe PS Pe Pe e res res a aaa E m Editing Console BA ae Used to control all aspects OOOO aoon O ER E DE of recording and editing eye etre rt eee fe ke We fe Described in more detail in aERaaaEEaae eee the FAME Recording and Pe PE Ie ee eee CEI Editing Manual CECU eyed dey C Page 10 User Manual AUDIO MIXER EDITOR 6 The Touch Screen 6 1 Operation The FAME Touch Screen is used to configure and operate the mixer It must be operated with the tips of your fingers A small amount of pressure is required to operate the mechanism Please take care not to damage the glass by pushing too hard Clean the screen gently with a damp cloth 6 2 Calibration Over time the touch mechanism may become out of alignment so that you seem to be touching the wrong object on the screen To realign the touch screen first save your work then press the following screen buttons use a mouse if the alignment is so bad you cannot touch the correct button l Press _CAL TOUCH 3 The screen will place a small white dot near the lower left corner which you should touch Touch the dot gently and only once 2 Press 4 Then the dot moves near the upper right corne
3. SOLO MODES i USER KEYS f pee S 2 n Z y l l SYSTEM MODES j ue gt _ ae i Ratio x Noe 7 ODE i RD SEL ip CHANNEL CHANNEL1 o o o WIDTH WIDTH WIDTH SURR SURR SURR M TRIM TRIM 20 20 20 ALT a O ALT a O ALT a BAL BAL LCR LCR LCR PAN PAN PAN L R L R L R RD _ RD RD SEL ya INT SEL YR INT SEL r INT ROUTING ROUTING ROUTING SOLO B1 B3 soud B1 B3 soud B1 B3 MI M1 MI CHANNEL1 CHANNEL1 CHANNEL1 MUTE MUTE l 10 20 30 Dopo AAAA TRANSPORT Fader Block Houses 4 or 8 motorised faders Up to 6 such blocks may be fitted allowing 48 faders in total Transport Controller Includes transport keys locator monitor and
4. 26 6 3 System Modes 0ccccccsceeeeeeee 11 8 2 Monitoring Setup oao 20 6 4 Touch Screen Menu Summary 13 8 2 1 The Surround Monitor 26 6 4 1 The Mix MenU nnii 13 OAA IMEMA SOUTCES prsni 28 6 4 2 The Data Menu 14 a COMIC Sire nena 28 6 43 The System Menu 45 8 3 Channel Configuration 0006 30 65 Fader Screen Menus 16 8 3 1 Live Feeds aaeenenennnerennnnnn 30 8 3 2 Track Feeds ccccceeceeeeeeees 30 T Starting a JOD sssesssseseusenensunensnunnenunnnee 17 8 3 4 SOU ES ree 31 T1 File TYPOS ee 17 8 3 5 Insert Pointissa a5 7 1 1 Recording Files 06008 17 8 3 6 Copying Channel Configuration 32 7 1 2 Mixer File Hierarchy 00 17 8 3 7 Stereo Linking o oo 32 7 2 MFX and FAME Communication 18 8 3 8 Arming Tracks o an 32 8 3 9 Signal FIOW ccccceceeeeeeeeeees 32 8 3 10 EQ COMP EXP buttons 32 User Manual Page 3 AME AUDIO MIXER EDITOR Contents continued 8 3 11 Multitrack busses 08 32 9 7 1 Setting Timecode Format 56 8 3 12 MS Decoding Input configuration 9 7 2 Locate Points in the Mixing console OPON a cera ecnpesiueecnt ou 33 56 8 3 13 Input Phase Reverse 33 9 7 3 Locate Points in the Editing console 8 4 Buss and Group Assignment 34 57 8 5 Naming Signal Paths 00 34 9 7 4 Locate to Tim
5. It is possible to set four different fader channels to control a single GPO Then it is possible to choose whether the GPO fires when any one of the these faders is in the right state or whether they must all be in the right state By touching the ON Triggers box on the GPO display you will open another display GPO Setup Display Output Output ON OFF ks pane Sl Channel Mode Polarity Triggers Triggers a Sy oy LH Pa 1 ON Track 15 Continuous Active High CHi open CHI close elki se be 1 ON Triggers Mo Fader Channel Event Taki ooo OPEN Track 2 OPEN OPEN OPEN Jo e m i amp amp HELP a Touch to choose Choose whether all faders Touch to toggle the fader s a fader to control must be in the active state for active state between this GPO triggering or just one of becoming open and them becoming closed User Manual Page 6 7 AME AUDIO MIXER EDITOR 10 Console Automation FAME provides automation of faders mutes auxes and EQ parameters Each type of data can be independently enabled for writing to the automation file Control of the automation system is mostly achieved from the main unzoomed fader screen whose controls are listed below 10 1 Mix Control Buttons There are several screen menus on the main fader screen These are summarised below On Line Off Line This determines whether the automation is active
6. Noise When pressed this will cause Pink Noise 3dB Octave filtered to be sent to ALL speaker feeds simultane ously Mutes should be used as appropriate Level control is from the Mono Level pot and main Control Room Monitor pot ACAD Insert When pressed this switches an insert on the Mono path to both the main monitors when Mono is selected and the secondary Mono speaker The Insert send is always active Acad Filter Inserts an Academy filter equaliser into the Mono path 9 4 2 5 Mono Output controls With the ACAD card fitted the ACAD circuitry Filter and Insert is placed in line with the normal derived mono feed that is sent to the Main monitors L and R when the Mono button is pressed on the Main CR Monitor screen The ACAD card also provides a permanent derived Mono output for a dedicated Mono speaker with its own gain control The controls for this speaker take the form of 2 buttons and a gain pot which operate as follows C R button This button when activated causes the gain pot to act as a trim relative to the main monitor pot level Thus the Mono speaker follows the main control room monitor pot When this button is NOT activated the Mono output level pot is independent of the main Control Room pot Page 48 User Manual cme AUDIO MIXER EDITOR Mute When the C R button is NOT activated this is a simple Mute for the Mono Speaker When the C R button IS activated the Mute
7. button will TOGGLE with the main C R monitor mute Thus if we set the Mono Mute to be OFF whilst the Main Mute is currently ON cancelling the Main Mute will toggle the Mono Mute to ON and the monitors can be A B ed between MONO and MAIN using the Main Mute switch Conversely setting the Mono Mute to match the Main Mute will cause them to track exactly Both either muted or un muted 9 4 3 The Aux Masters Page This screen is accessed by pressing the Aux Masters key It allows you to control the Auxiliary output master levels and assign their outputs Output Port selector buttons The output port for any Aux Master or Multitrack Buss may be selected directly from here Press the destination button at the top of the display for any Aux or Multitrack buss to bring up an Output port selector for that Buss Display Selector buttons On the right hand side of the screen are 5 selector buttons Aux 1 8 and Aux 9 12 display their respective mono auxes if they have been created ST Aux displays whatever Stereo Auxes have been created and TK1 8 and TK1 9 display whatever Multitrack busses that have been created User Manual ome AUDIO MIXER EDITOR Page 49 9 5 The Central Assignable Panel AUX 1 5 9 GATE EXPANDER CAP PRE Attack 9 5 1 Introduction 18 O Ooo 10 The CAP is used to set EQ Dynamics and Aux send levels for one channel at a time For most AUX 2 6 10 systems it forms the
8. If you want non standard names on the Disk Recorder screen but not on the Mixer name them on the Disk Recorder but do not subsequently Update your Title Since the Title is always loaded after the Disk Recorder project it will avoid seeing the non standard track names On the other hand if you want to copy all the track names from the Disk Recorder to the Mixer reload the Disk Recorder Project 8 6 2 Live Feeds Live Feeds are named on the CHANNEL LIST screen display the same way as for Tracks see above 8 6 Fader Sets A Fader Set is a mapping of the system signal paths and control paths to the physical faders on the console The total list of paths in the system is as follows e Tracks e Live Feeds e Master Faders for M1 M2 and B1 to B4 only those which have been created are available e Master Faders for VCA Groups only those to which one or more faders have been assigned are avail able 8 6 1 Switching Between Sets There are 16 Fader Sets including 8 unshifted and 8 shifted sets To access a Fader Set 1 Press its button in the Fader Set area of the Master Control Section of the console 2 If it is a shifted Fader Set press and latch the Shift key then press the Fader Set key 8 6 2 Editing a Fader Set The system defaults to a state where all Fader Sets have the lowest numbered tracks spread across the console To change a fader set l Select the Fader Set you want to change This will place it on the
9. Open or create a project on the MFX Editor See Section 7 for further instructions 3 3 Running the Fame Mixer and PC Once the Fame surface and PC have been powered up and a project has been loaded on the Editor type Fame at the prompt displayed on the touch screen using the keyboard Page 8 cme AUDIO MIXER EDITOR User Manual 4 Restarting the System 4 1 Restarting the Mixer If you have made a controlled exit from the mixer computer by pressing the Quit to DOS button you can restart it by typing FAME lt ENTER gt If you wish to restart the mixer and there is no response from the touch screen you can hold down all of the follow ing keys lt ALT gt CTRL gt lt DEL gt This can normally be done without disturbing the Recorder Editor Then type FAME lt ENTER gt After this you should load the Mixer Title which will return you to the last point you saved 4 2 Restarting the FAME Engine If the recorder editor needs to be restarted the best way to do it is to turn the power off on the front of the FAME Engine and PC then on again waiting at least 10 seconds in between It is usually best to save and then reload the Title from the mixer so that everything is in sync It is also possible to exit the FAME application by typing QUIT lt RETURN gt Y This will take the machine to a command line interface known as the Shell where various OS9 commands can be entered If you have ventured into t
10. Read Preview Write Preview is a special mode which allows you to move a fader hear the results in real time but not write these moves to the automation It is very useful because it allows you to set up the mix for a section without disturbing the existing automation and without the automation moving these faders every time you go into Play Preview mode becomes active only when the Record gt button on the mixing console is pressed which must be done while the transport is stopped The Record light flashes to show that Preview mode has been entered Pressing the SEL button on any channel moves it from READ to PREVIEW WRITE and the Write indicator flashes red A further press of the SEL key puts the channel into WRITE Another method is to select preview mode arm a channel and set any required levels etc and locate to where the automation should begin Then press SELECT and the FAME RECORD buttons The system will pre roll and drop into write mode at the time at where the RECORD button Page 69 User Manual AME AUDIO MIXER EDITOR If the Record button is pressed again while the transport is stopped PREVIEW Mode is exited and all channels in PREVIEW WRITE go back to READ If the Record button is pressed again while the transport is Playing all channels in PREVIEW are switched to WRITE This can be used to punch in on the automation _Punch gt This button when pressed drops down a list which controls an automated D
11. Live Feed 24 is chosen by default to be replaced which means that whenever talkback is switched on the signal in Live Feed 24 disappears from all its destinations and the talkback signal comes through that path and goes to its destination s In Mode 1 the objective is that all 24 Live Feeds can be used as well as the talkback system Permanent Mode 2 This is the default setting One Live Feed is dedicated permanently to talkback and does not appear in any menu or screen By default this is Live Feed 24 Note if it is a requirement to slate audio to FAME tracks while recording Permanent mode must be used or else an error message will be seen Can t do that while recording User Manual Page 39 AME AUDIO MIXER EDITOR 9 Operating the Console Manually 9 1 Fader Operation To hear a FEED you must 0 assign the FEED to a fader use the Fader Sets editing screen jan 2 route the FEED to a BUSS use the Routing screen a gt make sure the Master fader for the BUSS is up amp 4 make sure the Control Room or Studio Level knob is up and not muted by its ge switch PAN s 5 n si make sure the output of the BUSS you are listening to has a path to Monitor RD speakers or headphones O WR 9 1 1 Level a Fader level works the same way in FAME as in any analog console of our day When a level change is made with the fader the channel configuration EWS panel displays the CH
12. SOURCE INSERT R STUDIO R STUDIO POWER MAIN SEND RETURN INSERT IN o METER ON MUTE SOLOR amp gt gt gt H gt MONO SOLO 5 Q PHANTOM FILL C amp p R STUDIO EXT MONO SOLO gt RDAC OUTPUT SOLO RIGHT gt SOLO R SOLO SUB gt 4 RF L STUDIO T B BUS NOISE L BUS L SOFT R BUS gt SUBCARD RIGHT gt a DSBS DERIVED OPTIONS Lant FILM SOFT F R amp BUS MONO Sra METER Pure E ee L RST BUS gt DERIVED DIRECT EFT o MER om gt SURROUND SOLO DERIVED MULTIPLEXER BUS 2 RIGHT i p gt Surround Multiplexer Option Surround Monitor Block Diagram User Manual Page 2 AME AUDIO MIXER EDITOR 8 2 2 Internal Sources Internal sources are those connected to the MAIN inputs on the Surround Monitor They are switched into the speakers when the NEAR switch on the console is not active or by the INT screen button on the CR MON amp STUDIO page The diagram opposite shows the normal connections to the Surround Monitor inputs When the Surround Monitor is switched to Internal you may choose any of the system busses as your Internal Monitor source This is also done on the CR MON amp STUDIO screen and switching is done immediately When Solo is non destructive and SOLO to C R is checked on the Buss Allocation page its busses are automatically selected when a channel is soloed dad Outputs for Internal So
13. These are stereo and the signal sent to them will be Left and Right only The EXT switch swaps the inputs of the Surround Monitor over to their External option This also happens when the EXT button on the CR Mon and Studio screen is touched 9 4 2 The CR Mon amp Studio Screen This screen is accessed using its System Mode key It allows you to choose your monitor source at any time An Internal choice and an External choice can be current at the same time and you can then choose which of the two is heard This choice is made either on this screen INT EXT or by the EXT switch on the console Selects the Selects the EXT Switches inserts Opens a screen Opens a screen Reverses the MAIN inputs inputs of ON in the for assignment of for adjustment phase of the of channels 7 channels 7 and Surround Surround Multi of speaker Right speaker and 8 the 8 the Studio Monitor plexer inputs balance output Studio inputs inputs Makes the Control Room FONTROL ROOK ZGURCE output mono STUDIO Touch one of these to make it your INTERNAL zarpar i l choice Touch one of SOURCE OO these to make it your EXTER NAL choice Switches the Switches the Sets the attenua EXTST Mutes the Left Mutes the Surround Surround Monitor tion of the DIM R E PEA output Right output Monitor inputs inputs to EXTER switch to INTERNAL NAL Page 46 User Manual ome AUDIO MIXER EDITOR 9 4 2 1 The EXT ST button
14. This section assumes the Recorder is already running with a Project loaded When the Mixer starts up you must either create a new Title or load an existing one The system will not let you work without a Title loaded 7 6 Create a Job There is no explicit command to create a Job It is part of creating a new Title 7 7 Create a Title To create a new title Touch NEW TITLE if no title has previously been opened OR 2 Touch SAVE TITLE asiif a title has previously been opened 3 Touch the Job where you want to put the Title or touch MAKE NEW JOB if you wish to do that 4 Press the TITLE box and a keyboard appears on the screen 5 Type a name for your new Title which may be up to 8 letters long You may use the attached keyboard instead of the touch screen to type names 6 Touch ENTER on the keyboard then touch SAVE 7 8 How to Save Your Work If you wish to stop work and be absolutely sure that everything is saved you should check the following l Make sure your current automated mix is saved If you are unsure about this press and give it a new name PA Press UPD title where title is the name of your currently loaded title User Manual Page 23 AUDIO MIXER EDITOR 8 Setting Up the Console 8 1 Buss Allocation FAME allows you to create a number of busses spread amongst all mix requirements main mixes sub busses auxiliary sends and solo facilities Monitoring does not require ex
15. 4 Formats to All Channels box at the top of the panning screen Once set pan laws are fixed They cannot be changed by the automation system They are however stored with Titles The automation stores knob positions not absolute level values Thus a previously automated pan may be changed by changing the pan law for that channel but this change will not be stored unless the title is updated Accurate automated reproduction of a pan depends on the correct pan law being in place at the time of playback as recalled from the title When the Assign These 4 Formats to All Channels is pressed then all channels are set to use the same presets and any channels using a preset which is edited will register the change in law made in the edit User Manual Page 45 AME AUDIO MIXER EDITOR 9 4 Monitoring FAME provides monitoring control for studio and control room and offers a comprehensive analog matrix for surround sound Setting up the monitoring is discussed in section 8 2 9 4 1 Basic Controls The first 6 channels of the Surround Monitor are connected to the Control Room level pot on the Mixing Console and its associated Dim and Mute switches The last 2 channels are controlled by the Studio level control and Mute C R MONITOR STUDIO 002229 Oo o0 o000 Ooo Co i 6 D COMMS TALK f TALK M 1 2 MUTE ff DIM The NEAR switch swaps the outputs of the Surround Monitor to a second set designed to drive alternate speakers
16. GOTO pn Press the Numeric key corresponding the locate point you want OR l Press GOTO and PLAY followed by the Numeric key if you want to go straight into Play at the locate point To cycle the transport between two locate points l Press CYCLE 2 Press the Numeric key of one locate point 3 Press the Numeric key ofthe other locate point Cycling begins immediately Page 56 User Manual cme AUDIO MIXER EDITOR 9 7 3 Locate Points in the Editing console In the Editing console it is also possible to create locate points which are called Marks Up to 1000 points can be created in any project with each point nameable and displayable on screen for easy browsing and choosing Please consult the Recording and Editing Manual for details 9 7 4 Locate to Timecode There are two ways to locate to a timecode On the Editing Console 1 Press the GoTo button 2 Type a timecode 3 Press ENTER 4 More variations are possible See the FAME Recording and Editing Manual On the Mixing Console l Hold down the SET key while pressing the GOTO key 2 Type a timecode As soon as you have finished the eighth digit the transport will locate i You may type less than the complete timecode and press GOTO again This will fill the rest of the timecode number with zeroes and then locate 4 To exit the sequence without finishing press STOP 9 7 5 Rollback Pressing the ROLLBACK button causes the transport to back up a few seco
17. I LEFT MAIN OUTPUT EXD 5 Sao L gt gt RDAC LEFT NEARFIELD OUTPUT f MONO SOLO R BUS STEREO EXT R eD RET T B T NOISE g SOURCE INSERT CENTRE CENTRE POWER MAIN SEND RETURN INSERT IN L M METER ON MUTE Q amp Q gt 9Q amp mi CENTRE e MONO gt RDAC OUTPUT gt MONO SOLO C BUS NOISE I g SOURCE INSERT SURROUND SURROUND POWER ANCILLARY INPUTS MAIN l SEND RETURN INSERT IN l Mo BOOM METER ON MUTE Q P gt gt Q Q r EXT gt gt RDAC gt e BOOM OUTPUT RETURN TALKBACK a gt S NOISE S BUS STUDIO TALKBACK a gt gz gt gt SOURCE INSERT L SURROUND L SURROUND POWER MAIN SEND RETURN INSERT IN D METER ON MUTE gt ORS a PINK NOISE 8 ay PHANTOM SURR gt lt i 9 L SURROUND gt SOLO L D LS STUDIO T B BE BUS NOISE g SOURCE INSERT R SURROUND R SURROUND POWER MAIN SEND RETURN INSERT IN METER ON MUTE Sm 9 a p PHANTOM SURR m 3 R SURROUND SOLO INPUTS SOLO R gt BAe OUTRUT AND METERING RS TT _ LEFT STUDIO T B SOLO BUS NOISE METER EXTMETERL Q amp Q gt SOURCE INSERT L STUDIO L STUDIO POWER MAIN l SEND RETURN INSERT IN LDO METER ON MUTE gt g n TIAS C 7 PHANTOM FILL f L STUDIO EXTMETERR Q D gt a MONO gt rac OUTPUT gt SOLO L EF STUDIO T B m NOISE SOLOL Q amp Q gt SOLO LEFT
18. The EXT ST button enables the EXT ST input on the Monitor System This is a stereo input to the monitors which is post Insert return When EXT ST is activated the monitoring is switched to Stereo but the feeds to the Insert Sends are left as they were Thus if feeding a Dolby Encoder in LCRS from the Insert sends The EXT ST input may be used to monitor LT RT directly without affecting the feed to the encoder 9 4 2 2 CR Monitor Setup Page E SPK 2 MONITOR OUTPUT LEVEL TRIM Z NONO OUTPUT POST SOLO _ PRE f e EKT a e p n Wa p Mono a p ma aL i A SEND TSEC STU OT ss go FILTER i s This selects where Insert SEND SOLO Meters SPK2 trim is the meter outputs on switch de applied when the Monitor System scribed below Nearfield Moni are driven from tors are selected POST Monitor Pot Pre Mute PRE Monitor Pot Post MONO Post Insert RETurn or at the ACAD card controls described below 9 4 2 3 Solo Meters Switch The Monitor System has a pair of outputs called SOLO Meters L and R The source for this 6dB unbalanced output pair is selected on this switch as follows EXT Direct from EXT Meter inputs on the Monitor System Any source may be connected to these inputs e g the LT RT signal from a Dolby encoder SOLO from SOLO L amp R Inputs on the Monitor System Any source may be connected to these inputs but particu larly the Solo Buss Outputs from the F
19. by touching its named box Touch the field showing the current port and the screen will show you the available ports on a grid Touch the desired port to allocate it Press the CLOSE button to return to the Buss Allocation screen 8 1 11 Free Mix Busses This box keeps a count of the number of busses you have created and shows you how many are left Page 26 User Manual ome AUDIO MIXER EDITOR TM THE BENCHMARK IN DIGITAL AUDIO 8 2 Monitoring Setup 8 2 1 The Surround Monitor All FAME monitoring passes through the Surround Monitor It is an 8 channel level control device designed to feed 8 speakers The first 6 speakers are used for the main monitor mix up to 5 1 format with the Control Room Monitor pot and switches controlling their level The other 2 speakers are used for studio communication and have their own volume pot and mute switch A block diagram for the Surround Monitor is shown below In the discussion of monitoring that follows reference will be made to the inputs and outputs of this device Connections to it are detailed in the FAME 2 Installation Manual
20. checked the Function keys of the PC keyboard are mapped onto button functions in the System Modes section of the FAME centre section Page 80 User Manual cme AUDIO MIXER EDITOR Locator Keys Use for Transport Control Transport keys operate the transport Use for Cues The Play Key steps through the Cue List Cues in sequence Other keys are disabled Locator Display Show Timecode Locator display shows Timecode Show Cues Locator Display shows the currently active Cue from the Cue List SMPTE Cues Only Trigger on Pass Through Defines whether a Cue is initiated only as the Timecode point is passed or for any point after that Timecode point Mute Format Mute LED shows ON When Checked the Mute Button above each FADER shows that that Channel is ON as opposed to MUTED reverses the logic of the MUTE button C R Pot s O P range reduction 0 50 Allows adjustment of the range of level control on the Control Room Potentiometer GPI GPO Polarity Reverse GPI Logic Reverse GPO Logic Fader Starts Threshold 30 to 90 dB EQ Library User Manual Page 81 AME AUDIO MIXER EDITOR Preset 1 as Default M1 amp M2 Has Master Mute switch Enables the MUTE button for M1 and M2 M1 amp M2 10 dB Main Enabled When NOT checked unity gain for M1 and M2 is at the TOP of the Fader i e there is no gain available on M1 or M2 Stereo Pan Default to unity When this
21. cme AUDIO MIXER EDITOR 9 11 2 Presets Ten Presets may be stored for each VFX device within each Fame title They are therefore title specific T2850 Performance Preseisl Current Preset Name Prg _ Current Preset Name Pgs Touch to change the Stores the current setting Touch to load the Shows the MIDI patch name of this preset into this patch number selected patch into number associated When you save the Also prompts for a name the VFX device with this preset name the current setting and asks to confirm if you is also saved into this have selected an existing location patch 9 11 3 The Patch Library The Patch Library contains MIDI setups for all fitted VFX devices and is always available regardless of what title is loaded To Save a patch touch the button on the VFX screen Touch to open a list location You will be prompted for a name Pressing ENTER on the keyboard completes the name and saves the patch To Load a patch touch the LOAD button on the VFX screen Patches applying to the current VFX device are black while others are grey Touch one of the black patches to load it into the VFX device User Manual Page 65 AUDIO MIXER EDITOR 9 12 Fader Starts GPOs Fader Starts or GPOs General Purpose Outputs are used to trigger various events from the action of opening a fader These events include starting tape machines or CD players switching on lights and many others FAME prov
22. entire user interface for these functions but where there are dedicated controls it works in parallel with them 9 5 2 Assigning a Signal Path One channel at a time can be viewed and changed on the CAP There are several methods for doing this A channel is assigned to the CAP e by pressing the INT button on any fader e by touching the fader if Assign to CAP via Touch Sensors has been checked on the Preferences screen e by soloing the fader if Assign to CAP via Solo Switches has been checked on the Preferences screen ST AUX A B C STB e by pressing the Assign button on the a CAP and choosing a signal path from Gain the screen O Once a channel is assigned into the CAP if EQ or Dynamics are applied to the channel a display is shown on the user interface above the mute display with E for EQ or D for Dynamics MODE se f mes SEL k CHANNEL CHANNEL1 9 5 3 The Equaliser J There are two forms of EQ in FAME One called dynamic EQ is operated from the CAP and works just like controls on an analog console The other called clip based EQ is operated from the Editing console and works more like an editing function Both forms of EQ can be operated simultaneously allowing two 4 band equalisers to be active on every track actu ally there are three equalisers during a crossfade 9 5 3 1 Dynamic EQ This form of EQ takes its name from its ability to change the EQ val
23. for use in production SPEED The execution speed of a macro can be varied Touch this button then select the macro whose speed you want to change The screen will ask you to choose Normal or Fast with Normal being the Debug speed ASSIGN Allows you to attach any macro to any of the 6 User Keys on the console surface Touch this screen button then the macro to be assigned and the system will ask you to choose a hardware button or NO KEY if you want to deassign the macro Macros can also be assigned to the Shift function for the User Keys RECORD Touch this button then the macro to be recorded or over recorded The macro screen exits back to the default fader screen allowing you to touch any screen items When you have finished touch the STOP icon in the lower left of the screen RENAME Allows you to rename any macro User Manual Page 61 ome AUDIO MIXER EDITOR 9 10 The Cue List The Cue List allows you to create a list of ttmecodes which can be used for a variety of purposes l To automate MIDI events 2 To switch VFX device Performance Presets 2 To switch Console Snapshots To access Cue List functions 1 Touch followed by The Cues are displayed in timecode order in the main part of the screen and can be selected by touching At the bottom of the screen are commands that affect the cues At the right side of the screen are commands affecting the Events triggered by the Cues COPY Allo
24. is enabled a stereo pan is set to unity gain for left and right with 3dB gain at centre The defaut setting when this is not checked is 3dB left and right with unity at centre Title File Verify Disc Write With enabled a verify is performed whenever the title is updated Update Title when Saving mix Whenever a mix is saved the title is updated automatically Page 82 User Manual cme AUDIO MIXER EDITOR Index A A inputs 7 AFL PFL 21 After Fade Listen 38 Again 55 Arming Tracks 28 Auto Read 70 Automation 69 70 Aux Buses 21 Aux buses 21 Aux Masters 47 Auxiliary Send Panel 50 Auxiliary Sends 50 B Balance 38 Blend 69 Bus Allocation 21 Bus allocation 21 Bus and Group Assignment 33 C C R Monitor 21 Calibration 12 Central Assignable Panel 48 Central Assignment Panel 11 Channel Configuration 26 Clear Solo 40 Clip Based EQ EQ clip based 50 Compressor 52 Compressor Limiter 52 Create anew piece of work 9 Cue 37 Cue List 62 64 D DATA Menu 15 Data Menu 15 Define Port 23 Direct Output 26 Dynamics 52 E Editing Console 11 Editing console 8 EQ 48 EQ Screen 49 Equaliser 48 Expander 52 Expander Gate 52 EXT switch 45 External Sources 24 F Fader Block 11 Fader Groups 40 Fader Operation 38 Fader Screen Menus 17 Fader Sets 33 Fader Starts 66 69 Faders To 40 Fast Keys 64 Feeds 6 File Types 18 Free mix buses 23 G Gate 52 GPOs 66 69 Groups 40 I Inp
25. or not If it is offline no automation data can be read played back or written recorded If it is online automation data is always being read or written for every signal path Choice of Number of Frames When a mix is updated there is a period between dropping out of write and back to read during which the automation data is automatically joined up with the data after the newly written section This is to allow smooth transitions between sections of the mix The blend time determines over how many timecode frames the new data is joined up with the old Once you have begun a mix pass the system will continue to write or update the mix until you put the faders into READ or take the transport out of PLAY When you do the latter a number of outcomes are possible Return to Mix The current fader or other switch and pot positions are written only to the point where the transport was stopped and then the values are blended into the previously recorded data over the period defined by Blend described above Write to Next The current fader or other switch and pot positions are written forwards to the next piece of valid automation data 1 e the next change on this track then blended with the existing data at that timecode Write to End The current fader or other switch and pot positions are written all the way to the end of the Title as defined on the Title Sheet screen 4 Auto Read When Auto Read is on the automation s
26. removed from the Group When the G C P Group Controls Pan button is pressed above a Group Master on the Zoomed Faders screen then the pans of all the group members are controlled directly from the Group Master pan Note that grouped faders do not move when their Master fader moves This is to preserve the VCA Group quality of the software It has the following advantages e The operating range of the faders is maintained at the high part of their throw even when the Group Master level is very low e It is possible to write a changing automation level on an individual fader even when the Group Master is also changing e By showing the resultant fader level in blue on the screen the user has the advantage of seeing both the balance of that fader within the Group and the actual level of the fader in the mix 9 2 Stereo Faders Stereo faders can be used to control any pair of adjacent channels These provides easy control of stereo signals and ensures the same settings for EQ and Dynamics apply to both sides 9 2 1 Setting up a Stereo Fader To link two channels l Interrogate a channel to display the Channel Configuration page 2 Touch the LINK button 3 The screen will ask whether you want to link to the channel above or the one below J AUH PRE COPY PASTE SOME CHANNEL 2 3 MONO INPUT PATH EQ DYN gt TRACK INSERT The stereo fader will be the one currently assigned to the lower number
27. the clipboard may be pasted simultaneously press PASTE or each separate section independently Press SOME into the current channel 8 3 7 Stereo Linking The LINK button links and unlinks the channel with an adjacent channel This has the effect of combining control of the two channels on to one fader It also locks the EQ and Dynamics parameters of the two channels to be the same and causes the same level to be sent from both channels to the aux buses 8 3 8 Arming Tracks The ARM button allows the current Track to be armed directly from the Channel Configuration page 8 3 9 Signal Flow The FLOW button allows EQ and Dynamics to be placed either at the Input to a track or the return from the Track If an input is connected directly to a track and the EQ Dyn are at the input the results of the EQ Dyn will be recorded Ifthe EQ DYN are set to TRACK the results of the EQ DYN will be monitored but not recorded For LIVE FEEDS the EQ DYN are always at the input Note that inserts cannot be created on armed tracks when the EQ and Dynamics are in the Input path 8 3 10 EQ COMP EXP buttons The EQ COMP EXP buttons may be used to switch the EQ and dynamics in and out from the Channel Configuration page 8 3 11 Multitrack busses If any Multitrack busses have been created in the Buss Allocation page channels are routed to them by selecting the appropriate Track buttons at the bottom of the Channel Configuration pa
28. the zero level after which moving the fader up or down adds or subtracts from the automated level You will hear the changes in real time Using UPDATE mode with rotary controls causes them to enter WRITE when moved This is useful for separating the functions of the EQ bands see below this page Pressing the SEL switch a second time puts the fader into Write mode This means the absolute position of the fader controls the level and is written into te automation file Read Update Toggles between Read and Update modes Read Write Toggles between Read and Write modes Update Write Toggles between Update and Write modes Touch Write Snap Toggles between Read and Touch Write When Touch Write is enabled the READ light flashes and the fader is ready to go into Write as soon as it is touched It stays in Write as long as you keep your finger touching it and when you let go it stops writing merges with the existing data and goes back to flashing READ 1 e ready for you to touch it again When you stop the transport it goes back to Read if Auto Disarm is ON otherwise it stays in Touch Write ready for you to start the transport and make some more changes Touch Write To End A fader that is put into Touch Write will stay in write even when released On stopping the transport data will be written according to the setting of the On Stop function The fader reverts to Read if Auto Disarm is ON otherwise it stays in Touch Write
29. to a fader 2 Look at live 12 in the channel configuration page 3 Set the input to be 22 analogue 4 dB 4 Make sure that there is no input assigned unused in the Cues and Comms page live feed 12 is where you should set up the physical input 5 Route talk 1 and or talk 2 to the output busses you want to assign the talk back to If ST is one of the destinations make sure that the output of the mic pre amp is split to the monitor box as well as routed to a physical input 6 With the output of the talk back mic preamp connected to input 22 pressing talk 1 talk2 will activate the talk back and route the microphone to the chosen busses 7 Assign input 22 to the port in Cues and Comms page then talk back Page 38 User Manual cme AUDIO MIXER EDITOR 8 8 3 Automatic Cue It is possible to have Talkback 1 and or 2 come on automatically every time the transport goes out of Play Record To do this check one or both of the Automatic Cue boxes on the PREFERENCE screen under System 8 8 4 Use of System Resources There are three modes for talkback configuration disabled destructive and permanent The choice is made by a statement in the CONSOLE CON file which is described in detail in the Installation Manual e Disabled Mode 0 No talkback is possible and the CUES AND COMMS screen is locked out Destructive Mode 1 One Live Feed is nominated in the CONSOLE CON file to be consumed whenever talkback is switched on
30. to activate after the audio drops below Threshold Setting the attack too fast may result in objectionable artifacts due to the gain reduction aliasing into the audible spectrum Release the time taken for the Expander Gate to remove its gain reduction after the audio has risen above Threshold Notes l The Expander Gate and the Limiter Compressor combine to produce a single transfer function It is possible to get quite eccentric transfer functions by having the Expander Threshold above that of the Compressor 2 In general the audio level drops when Dynamics are used You can use the Makeup Ref control on the Dynamics Page to compensate for this Page 54 User Manual cme AUDIO MIXER EDITOR 9 5 5 2 The Dynamics Screen To access the Dynamics screen press the DYN button The graph shows two possible views of the Dynamics activities When G R is selected the graph shows the ex pected gain reduction at any input level When X FER is selected the graph shows the expected output level at any input level Dynamics Options EdB SdB 3B b 12dB CO 5 P b T Ode eS ete 9 5 5 3 Presets Presets allow you to create a library of useful dynamics settings and recall them at any time Each preset is stored on one line of the preset box and is accessed by touching it STORE Touch a line on the preset box then touch this switch to store the current dynamics setting into it A name will be requested if the line i
31. 11 1 Preference Descriptions 18 9 5 1 Introduction cece ceceeeeeeeeeeeee ees 50 9 5 2 Assigning a Signal Path 50 9 5 3 The Equaliser c c ccccees 50 9 5 4 The Auxiliary Send Panel 52 9 5 5 Dynamics vccaroctscinsncienacaneactematanna 54 96 Joystick Operation 0 0 0 08 56 9 7 Transport Control a n 56 Page 4 User Manual cme AUDIO MIXER EDITOR 1 System Components There are eight major subassemblies to the Fame system 1 1 Fame Engine This is an 8 unit rack mount device normally located in a machine room away from the recording area It provides processing for all the audio recording editing and mixing as well as running the graphics display for the audio waveform and editing screens 1 2 Disk Drives for Audio Storage These may be located inside the Fame Engine and on an external SCSI buss if an additional SCSI card is fitted They may include fixed and removable hard disks magneto optical disks and backup tape devices 13 MFX Editing Console This is built into the Fame Mixing Surface and used for transport recording and editing functions 1 4 MEX Video Monitor Connects to a 15 pin socket on the Fame Engine 15 Fame Mixing Surface Includes faders Master section touch screen and a built in automation system 1 6 PC Controls the automation of the console and displays the graphics on the touch screen 1 7 Surround Monit
32. AFL PFL has been selected on the Buss Configuration page Assign to CAP Via Solo Switches Causes a soloed channel to be selected to the Central Assignment Panel User Manual Page 9 AME AUDIO MIXER EDITOR Via Touch Sensors Causes a channel whose fader has been touched to be selected to the Central Assignment Panel Aux Pre Send Pre Mute Causes Pre Fader Aux sends to be unaffected by fader Mutes Writing Strip s Show Fader Starts Adds a symbol to the writing strip of any fader that has a fader start associated with it Show Grouping Information Adds a symbol to the writing strip of any fader that has a fader start associated with it Show Stereo Channels Stereo Channels are indicated by ST in the writing strip Show Channel Level Shows the channel level in dB in the writing strip Ch Parameter Auto Include Trim Dynamic automation Write enable for Input TRIM 5 Include I P Pars Dynamic automation Write enable for Input Phase M S decoding and Mode settings j Include Buss Assign Dynamic automation Write enable for Buss routing assignments Preset Page 7 Always Load All When Checked Loading a Preset will load the complete console configuration in one go When NOT checked loading a Preset will bring up a dialogue box allowing incremental loading of different types of Preset data Date Format DD MM YY MM DD YY YY MM DD Function Keys Use to Access Monitor Section When
33. AME if used in non destructive solo mode User Manual Page 4 ome AUDIO MIXER EDITOR MONO The mono buss in the Monitor System is permanently active carrying a derived mono signal from a selec tion of the main signal paths in the Monitor System Post Insert The sources from which this mono signal is derived are set on DIP Switch S1 on the Monitor System main PCB and may be selected from any of the 8 speaker paths Path 1 Left Always included Path 2 Right Always included Path 3 Centre selected on S1 SW 3 on Path 4 Mono Surround or BOOM selected on S1 SW 4 on Path 5 Left Surround selected on S1 SW 5 on Path 6 Right Surround selected on S1 SW 6 on Path 7 Studio L selected on S1 SW 7 on Path 8 Studio R selected on S1 SW 8 on This derived mono signal is the one that is monitored when the monitors are set to Mono but it may also be output from the Solo meters Ifan ACAD card is fitted the derived mono will appear on the Right meter output with the ACAD card mono output on the Left meter output post filter and mono insert If the ACAD card is NOT fitted then S1 SWI on the Monitor System will be On sending derived mono to both Left and Right meter outputs SEC STUDIO Ifan ACAD card is fitted this selection will route the output of the secondary studio speaker feed pre gain pot to the Solo meters left and Right 9 4 2 4 ACAD card controls only operable if ACAD option fitted
34. ANNEL1 level in dbs 9 1 2 Pan Balance The panpot works like a normal panpot when panning a mono channel into a stereo buss At the centre position the signal is at 3dB gain to the Left and Right channels At either extreme position the signal has 0 dB gain When panning a mono channel into a surround format the panpot moves the signal from ee left through centre to right It sends with 0 dB gain to a single buss at the extreme left dead centre and extreme right positions and 3 dB when positioned exactly in between two bus outputs 0 When panning a mono signal into a Stereo Surround format the panpot can be set to balance between Left Surround and Right Surround To do this press the ALT button until the red light appears under the label LS RS Stereo channels are described in a later section called Stereo Faders Ea Note that the Pan Laws can be modified as described in Custom Pan Laws E 20 9 1 3 Trim Surround The trim pot acts in between the analogue to digital converter for an analog input and the equaliser This can be used to set a useful working range for the fader and to set the 40 correct headroom for the equaliser When working with a mono signal into any Surround format the Trim pot can be set to control the balance between the front channels LCR and the surround channels mono or stereo To do this press the ALT button until the red light appears under the label F S fron
35. E automation software To operate X Point press the MATRIX System Mode key 9 8 2 Matrix up to 16 wide These are the generic names Long Description of for rows and columns in the selected patch currently loaded Matrix point MAT HAT MAT HAT MAT MAT CAAT DF 4 OP 3 OF 5 EXTL OPS OFP 11 OP 13 ozp 15 HAT MAT M T MAT MAT MAT MAJ OF2 JOP 4d JONG ESTR joio o OrPia pf 16 Select any of the Prevents the selected Prevents any Touch here available soft patch point from changes to the then touch the matrices here having more than one connections of patch point on connection by the selected the other side removing the previous patch point which is to be connection when a connected new one is made Monitor Selec CO AUT L Touch here then touch any connected patch point on the other side to disconnect it User Manual ome AUDIO MIXER EDITOR Page 59 9 8 3 Matrix greater than 16 wide These are the generic names for rows and columns in the Long Description of currently loaded Matrix selected patch point os Input Select A CO OUT L DATIL DAT1R DAT ZL VIRZL IVTRZR Ci IF 1 WP 2 VFS IF 6 TAFE 1R TAPE 2L TAPE 2 R AU L Pg I P 10 IF 13 IF id YTRA YTR AL YTRAR TAPE 3 R TAFE 4L TAPE dR ee a Select any of the Touch here then Touch here then Prevents the selected available soft touch any con touch the patch patch point from matrices he
36. ESETS _ Allows you to see load and save presets A preset is like a snapshot of all the system parameters at a given moment and can be used to save and restore settings of the following e Configuration of Tracks Inputs etc including names grouping buss allocation routing to busses and assignment of physical inputs and outputs e Fader EQ and Dynamics setting for each source signal Settings of outboard equipment being control led by the VFX system e Settings of all non automated controls such as input trims stereo width etc e Current patching of X Point matrix switcher e Current settings of Surround Monitor Shows you all feeds routable busses and fader groups It allows you to choose which feeds are routed to which busses and to assign them to fader groups Opens a screen where physical inputs and outputs can be connected to feeds and buses with special features for patching many at a time Allows up to 64 snapshots to be made of all dynami cally automatable parameters Page 14 User Manual cme AUDIO MIXER EDITOR 6 4 3 The System Menu fie i Hi i iN Displays information about the computer system and the software revision Displays information about the program and its authors I Allows you to realign the screen touch sensor This is described above ost j Settings for the system oscillator _FILE MAN Opens a screen
37. Trim pot can act as a stereo WIDTH control This will range from extremely wide Left channel hard LEFT Right channel hard RIGHT to extremely narrow Left and Right panning to the same position as determined by the panpot To do this press the ALT button until the red light appears under the label WIDTH When working with a stereo signal in any Surround format the Trim pot can also be set to control the balance between the front channels LCR and the surround channels mono or stereo To do this press the ALT button until the red light appears under the label F S front surround Page 44 User Manual cme AUDIO MIXER EDITOR 9 3 Custom Pan Laws Custom pan and divergence laws can be created for each different type of pan available Touching the Panning button on the Master Assign page accesses the custom panning page The Master Assign page is accessed by either pressing the Assign button on the C A P or by touching the channel name bar in the centre top of the Channel Configuration page Divergence Options for TRACK 1 FRONT CROSS Surround Panl Once in this page various options are available for adjusting the laws for different panning situations The small graphs represent the law that will be applied when that type of pan is used Thus when operating in stereo the L R pan graph is employed When operating in LCRS LCRSS or LCRSSB mode the pan law from left through centre to right will be gov
38. an be set to control Aux 1 Aux 5 or Aux 9 Other pots may be set to different banks for example Pot 1 5 9 Pot2 2 6 10 AUX 4 8 12 Pot3 3 T 11 Pot4 4 8 12 Pot5 A B C ST AUX A B C STB STC PRE To change the bank of an Aux pot hold down the MODE button and press the pot s selector button MODE To send audio to one of the aux busses first unmute the send for that pot if required then turn the pot clockwise You may need to check that the Aux Master is up press the Aux Master System Mode key To select whether an Aux send is Pre or Post fader use the Aux Pre panel on the Channel Configuration page z mE copy PASTE Er CHANNEL STEREO INPUT PATH DAN Mono _F MONGOL EQ DYM gt TRACK BAL REW HORM BUSSES SAFE UNUSED INSERT Ir UNUSED Pla UNUSED UNUSED CONTROL GROUPS User Manual Page 53 AUDIO MIXER EDITOR 9 5 5 Dynamics Dynamics is provided on each system Feed with a Compressor Limiter and Expander Gate for each Access is from the Central Assignment Panel CAP which shows all parameters for the currently selected Feed Press the INT button on any fader to display it on the CAP The Compressor Limiter and Expander Gate each have an ON OFF switch to activate them The other controls are as follows DD Og Compressor Limiter Threshold sets the audio input level above which gain reduction will start to occur The rotary control is
39. ansport to a suitable time before the start of audio approximately 10 seconds Start Timecode Press the Play button on the mixing console or the editing console Now you may make mixing moves while the computer writes them against the current timecode Stop Timecode Press the Stop button when you are ready If you have Auto Read checked highly advisable you can go into Play and hear your mix If you do not want to keep any of the mix you may simply put the same channels back into Write mode and repeat the procedure If you have something of value please save it now Save Mix It is a good idea to save your mix immediately if it has any value whatsoever This allows recovery from accidents of all types The first time you save it might be a good idea to use normal save the SAVE MIX button so that you start with a sensible name If you re in a hurry use SPEED SAVE It will save your mix with the next available number User Manual Page 3 AME AUDIO MIXER EDITOR 10 3 How to Change an Existing Mix Once you have a starting point for a mix safely locked away on disk you are ready to add new things or adjust existing ones 10 3 1 Set Write Enables Change the write enables at the top right of the screen if you want to add new parameters or protect existing ones Write wj HF HMF 7 AUH 1 w AUH A Enables w Level w LMF LF 7 AUH 2 w EHP Z Mute h EQ IN hZ AUH 3 COMP M Pan INS f AUR 10 3 2 W
40. assignments Insert switching trim levels Input phase Snapshots may then be recalled either manually in sequence or against Timecode by inserting them into the Cue List The automation system must be on line to use the Cue List and snapshots are recalled for any parameters on any channels that are in Read The parameters will hold their snapshot values until the next change of that parameter in the underlying mix data being read back User Manual Page AME AUDIO MIXER EDITOR 11 Preferences The FAME Mix and Automation software can be configured to run with a number of differnt options via the prefer ences page This can be accesssed via pressing the SYSTEM button and then the PREFERENCES button Preference Group Automatic Cue Title Defaults Miscellaneous Screen Saver Automatic Min Save 11 1 Preference Descriptions Automatic Cue Preferences Preference Description Talki Enabled Talk Enabled Set as DEFAULT Load Nothing Load Last Title Jamjam rk CEE Load Default Title a 4 Cancel Auta Read On Forget Screensaver On HELP CLOSE Wait for imins Ea No Auto Save jo a Talk1 Enabled Talk 1 will be activated when the transport is NOT in play s Talk2 Enabled Talk 2 will be activated when the transport is NOT in play Title Defaults s Set as DEFAULT Saves the current console configuration as a special default Title Load Nothing Loads nothing when the system is
41. ation to external signals is set up on the Editing console and this is described in the Machine Control section of the Recording and Editing Manual Using the transport menus on the Editing console allows you to synchronise to AES Word Clock video or LTC with all frame rates and sample rates supported 9 7 1 Setting Timecode Format It is necessary to set the timecode format on the touch screen to match that on the Editing console On the touch screen touch the TITLE SHEET screen button under DATA Touch the button corresponding with the appropriate timecode format Please note that the mixer software does not distinguish between 29 97 and 30 frames per second both are treated as 30 frames per second There is however no timecode drift when using either format to drive the automation On the Editing console timecode format is set in the MFX Menu press the key with MFX written on it 9 7 2 Locate Points in the Mixing console Up to 10 locate points can be created on the mixing console numbered 0 to 9 To create a locate point L Hold down the SET key 2 Press one the Numeric keys The current timecode as shown on the 7 segment display will be stored into that location OR l Touch 0O MH gt followed by LOCATE PTS 2 Touch one of the Timecode points shown on the screen 3 Use the pop up numeric pad to enter a timecode Existing Locate Points can be edited in the same way To use one of your Locate Points l Press
42. booted Load Last Title Loads the last used Title when the system is booted Load Default Title Loads the special Default Title created above when the system is booted Miscellaneous Cancel Auto Read on Forget When the FORGET PASS facility is used when Mixing enabling this option will cause the faders to stay in whatever status they were prior to FORGET PASS i e Auto READ will not be activated Page 8 User Manual AUDIO MIXER EDITOR Screen Saver ScreenSaver On Enables the Screen saver Function Wait for mins Sets the number of minutes before the Screensaver is activated Automatic Mix Save No Auto Save Disables Mix Auto saving Save into same Backup Creates a single Mix Backup file which is overwritten with every Auto Save Make new Backup Each Time Creates a new Mix Backup file for every Auto Save Interval mins Interval between Auto Saves Solo Clear Recall Prev Solo If checked the solo CLEAR button will recall the previous solo state toggle between solos If not checked the solo will simply be cleared Solo Meters Show Solo Meters If checked solo meters will be displayed on screen with every solo Solo In Place Disable in AFL PFL Mode When checked Solo in Place will be disabled if AFL PFL has been selected on the Buss Configuration page Solo PFL Only Enable in AFL PFL Mode If checked all solo modes other than PFL are disabled when
43. cator panel will capture the In Point and the Out Point respectively allowing capture on the fly Note that when PREVIEW mode is enabled the RECORD button is used to drop in and out of PREVIEW mode and is therefore not available for this operation The Capture In and Capture Out buttons must therefore be used instead when using Preview mode 10 1 1 Preview with Punch A very useful combination can be achieved using Preview with Punch To do this select the READ PREVIEW WRITE sequence press the Record button on the mixing console and enable some channels for preview In this state the faders panpots and or whatever parameters are enabled can be moved freely while the transport is running so that a balance can be achieved for a section of the project Once the desired balance is obtained the section of the project where it will be used is entered into the AUTOREC menu Now Punch is set to DROP IN DROP OUT and the transport started At the appropriate time the automation will punch in and write the values for all parameters over just the selected range Of course while the transport is moving through this range you can move the faders and other controls and these moves will also be written into the automation Page 70 User Manual cme AUDIO MIXER EDITOR 10 1 2 Write Enables m E a m CE E B CE E m At the upper right of the main fader screen is a grid showing all the parameters that can be enabled for automat
44. ch determines the behaviour of the solo switches Off No solo switches have any effect e Interlock Soloing one channel switches solo off for all other channels e Latching Solos behave normally allowing many channels to be soloed at the same time Page 16 User Manual ome AUDIO MIXER EDITOR ig Starting a Job 7 1 File Types There are two types of work going on inside FAME One type is recording and editing which are fully described in the Fame Edit User Manual The other is mixing which is the subject of this manual The files used to contain audio and editing information are also different from those containing mixing information 7 1 1 Recording Files FAME uses files called Projects to contain audio and editing information The project file must be created or opened before any recording or editing take place and there is no need to save this file as it is automatically updated every few seconds to make sure that you do not lose any audio information Whenever you close down the machine or even if you just turn the power off all audio and editing information more than 10 seconds old is safe 7 1 2 Mixer File Hierarchy Work in the mixer is stored in a two level hierarchy The top level is the Job This is a directory in which Titles are kept j The second level is the Title A title contains the following information e Title sheet framerate producer engineer data start and end times e Cha
45. ch the STORE button Type a name on the keyboard that appears on the screen and touch the ENTER button double left arrow on that keyboard LOAD To load an EQ setting from the library into the current selected channel touch the setting you want to load then press the LOAD button PREVIEW Touch an EQ setting and press the PREVIEW button This will temporarily load the setting into the current selected channel and you will hear the result UNDO Press the UNDO button to return to the EQ setting you had before the preview CLOSE Press this button to close the EQ screen You can also do this by pressing the illuminated EQ System Mode key User Manual Page 51 AUDIO MIXER EDITOR 9 5 3 5 Clip Based EQ Clip based EQ is operated from the Editing console It is completely independent of dynamic EQ and can be run at the same time For instructions on the use of clip based EQ please see the FAME Editing and Recording Manual Page 52 User Manual cme AUDIO MIXER EDITOR 954 The Auxiliary Send Panel FAME allows the creation of up to 12 mono and up to 3 stereo aux busses The aux sends are arranged in three banks Bank 1 contains Auxes 1 2 3 4 and stereo A Bank 2 contains Auxes 5 6 7 8 and stereo B Bank 3 contains Auxes 9 10 11 12 and stereo C The panel contains aux send pots for four mono and one stereo aux buss Each pot can be set to one of the banks at a time For example the topmost pot c
46. console surface 2A Press the EDIT key next to the Fader Set keys It will flash while Fader Sets are being changed oo ORIGINAL ALTERNATE Track MUSIC FH Track sreos i 1 1 1 I FH Track MUSIC FH mUSIC FH FH FH FH l 9 J 3 J 5 4 FH FH FH Track Track Track Track 5 6 7 A 32 23 24 l UWE l UWE l UWE l UWE l UWE l UWE l UWE i J 3 4 5 6 F ue uE uE uE coe m ow g 9 10 1l 12 MASTER MASTER User Manual Page 35 AUDIO MIXER EDITOR gt Touch the INT button of the first fader you want to reassign 4 The screen shows you the current path assigned to the selected fader Touch the path you want to assign to that fader 3 The screen automatically moves to the next fader to the right of the one you just assigned You may set that one or touch the INT button of the next fader you want to change 6 When you are happy with the Fader Set you have edited press the EDIT button again or touch the CLOSE screen button 8 6 3 Saving Fader Sets Fader Sets are automatically saved when updating the current title 8 7 Meter Sets A meter Set is a predetermined grouping of channels together with a certain meter look which you have saved for quick access To view the meters press the METERS System Mode key 8 7 1 Editing a Meter Set To edit a Meter Set L Press METERS if you have not already done so Zz Select the Meter Set you want to change This will put it on the screen 3 Press the EDIT
47. dE AUDIO MIXER EDITOR Mix Automation Manual Software Version 3 1 Part Number MANFAMEMIX Document Number 170 Manual by Andrew Bell Ross Caston I Copyright July 2000 THE BENCHMARK IN DIGITAL AUDIO Important Notice The material in this document is copyright to Fairlight ESP Pty Ltd and may not be quoted or reproduced in any form without written permission from the company LIMITED SOFTWARE WARRANTY POLICY All the software provided with or purchased especially for Fairlight products has been tested for functionality Fairlight ESP Pty Ltd will make its best efforts to correct reported software defects for future releases subject to technical practicabilities Fairlight ESP 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 supports the product within 90 days of purchase Fairlight ESP Pty Ltd makes no warranty or representation either ex pressed or implied with respect to the system s performance or fitness for a particular purpose In no event will Fairlight ESP Pty Ltd be liable for direct or indirect dam ages arising from any defect in the software or its documentation Further Fairlight ESP 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 The warranties remedies and disclaime
48. e load This allows for a new project to be created and mixer data to be copied from the current settings of the mixer into a title for starting work from scratch The current settings are dependent on the Preferences set and whether or not any mixing has been done since FAME was booted b Select NO and the newly created project opens but the Mixer stays in the START UP menu No messages on MFX This allows for the user to create a new project and then load a title from another project The title is loaded using the IMPORT gt gt LOAD MIXDATA option At this point the title data is not stored in the project Page 18 User Manual cme AUDIO MIXER EDITOR 7 3 2 Opening a project that does not contain mix data Message on MFX Create New Mixer Data YES NO This will work the same way as it does above 7 3 3 Opening a project that contains mix data Message on MFX Load Mixer Data from Project YES NO a Select YES and title stored in project is loaded onto the mixer Messages in MFX Sending data to mixer on clicking Y Unpacking and Loading title Please wait during title loading Title Load Complete at completion of title load During this transfer the following functions are disabled L Project Open library files PA Project Close 3 Project Version downgrade 4 Extend 5 Import Load Mix Data 6 Clicking UPDATE on the mixer again possible but ignored 7 Import O
49. e lower area of the Touch Screen normally has three menus of commands and screens which are accessed using the MIX DATA and SYSTEM screen buttons Here is a summary of their usage 6 4 1 The Mix Menu T iait Puts all faders into Write mode for use in automation ALL READ Puts all faders into Read mode for use in automation ALL UPDATE Puts all faders into Update mode for automation Arms all faders in Touch Write or Preview mode when enabled for automation Turns the whole touch screen into a timecode display i Unloads the current mix if any from memory puts Mix automation online and sets all channels to WRITE mode ready for a complete new mix to be recorded l Throws away any new automation data that was recorded on the last timecode pass _SPEED SAVE Saves the current mix with the same name as the last except for incrementing a number at the end of the name l Allows you to create a new name for the mix before saving it Allows you to load an existing mix This mix must have been saved under the current title Allows you to delete mixes that have previously been saved to disk in this Title Opens a screen allowing parts of mixes to be proc essed in different ways For example you may copy a section from one track to another or trim the fader levels in a given timecode range by a number of dB This processing only affects the mix data not the audio c
50. ece nce neeceeeneeeeeeeeneens T 739 ea eso hee csecnes nateans 34 Track COS cansochaunrosenasustadacouassateatoneaamacs T 7 4 System Configuration 0 ccccccecce 4 SOUICES O T 7 5 System StartUp cccccccccccccccscesesseeee 23 2 3 Patching Inputs to Tracks 7 6 Create a Job voeecccccceccsessesseeseeee 23 24 Insert Sends and Returms i T7 CRBS WS eee eee 23 3 Running the System c 2 ceeee 8 7 8 Howto Save Your Work 23 3 1 Powering on the system 8 8 Setting Up the Console 24 TEREN E see nenennnas tc ivag reese 3 2 8 Buss Allocation 24 Running the Fame Editor P EN 8 844 The buss Alecin creem 24 3 3 Running the Fame Mixer and PC 8 8 1 2 Mono Aux BuSsses 0668 24 4 Restarting the System 0 000 9 8 1 3 Stereo Aux BUSSES scrini epia 24 41 Restarting the Mixer 9 8 1 4 SUD BUSSES 0 eee 24 42 Restarting the FAME Engine 9 8 1 5 Main Busses ce cccnsencescenta vers ceseonss 25 4 3 Running the System as an Editor 9 8 1 6 Multitrack Busses 08 25 8 1 7 5 1 Formal eccerre 25 The Control Surface ssssescessesees 10 8 1 8 SOMO nassir 25 6 The Touch Screen cvoccccccccccccccccceccccccecce 11 8 1 9 C R Monitor eee erent eee eee 25 6 1 Operation o n 11 8 1 10 Define Port 0 eet 26 6 2 Calibration iiie 11 8 1 11 Free Mix Busses
51. ecode 57 8 5 1 Tracks wecieestocasecescecsanetudesonteewsane 34 9 7 5 Rollback weseducsntcscveatceeaiehtesvenvan 57 8 6 2 Live Feeds aeee 35 9 7 6 Aoa sere 57 8 6 Fader Sets 35 9 8 Controlling X Point 00 0 08 58 8 6 1 Switching Between Sets 35 9 8 1 Using the MATRIX page 0 58 8 6 2 Editing a Fader Set 0 35 9 8 2 Matrix up to 16 wide 0 59 8 6 3 Saving Fader Sets 008 37 9 9 Writing Screen Macros 60 8 Meter Sets eee 37 9 8 3 Matrix greater than 16 wide 61 8 7 1 Editing a Meter Set 37 910 The Cue List 00 ee 63 Sieh E EEEE NT EAT ETE 9 11 2 Presets enereratsgeraehveitecresedesdregareanas Oo Saving Meter Sets 37 9 11 3 The Patch Library cccccescccsscieseecvesnscees 64 8 9 Talkback nernasacorncsnieneiio 38 T YE ea E E O E 65 8 8 1 Operation ccceeeeeeeeeeeeee ees 38 9 11 1 Operating VFX ccccccsceseeseeeeeees 65 8 7 2 SS UU ac E E T 38 9 12 3 Setting ON Triggers 66 8 8 3 Automatic Cue cccceeee 39 9 12 Fader Starts GPOs 0 67 8 8 4 Use of System Resources 39 912 1 Setting up GPOS niieoee 67 9 Operating the Console Manually 40 9 12 2 Output Mode c eee 67 9 1 Fader Operation ccceee 40 10 Console Automation cee 68 9 1 1 Level ass sccnsn
52. ed of the two channels Any fader assigned to the higher numbered channel will go blank and have no further function Page 43 User Manual i Tl p AUDIO MIXER EDITOR To unlink stereo channels l Interrogate a channel to display the Channel Configuration page 2 Touch the UNLINK button 3 The screen will ask you to confirm the unlinking of the channels 9 2 2 Level Fader level works the same way as for mono channels except that both channels are controlled 9 2 3 Pan Pot The function of the Pan Pot on a stereo channel is switched between Pan and Balance using the Bal button on the Channel Configuration page When set to Bal mode the panpot works as a stereo balance control It works between the ranges 7 and 3 dB and affects the amount of Left and Right input feeding the Width control When set to Pan mode the panpot moves the output of the Width control from left through centre to right The range of possible movement is determined partially by the position of the WIDTH control see next section If for example the WIDTH is set to maximum the Pan control has no room to move at all At the other extreme it is moving both stereo channels from far left through centre and to far right exactly as though it was two mono signals com bined 9 2 4 Trim Pot The trim pot acts as a master level control for the channel just as for a mono channel When working with a stereo signal into a stereo or surround format buss the
53. en touch the event to be deleted PREV Allows you to preview an event Touch PREV then touch any event It will immediately be executed in isolation from any others User Manual Page 63 AME AUDIO MIXER EDITOR 9 11 VFX Virtual Effects is the control of external devices from the FAME screen via MIDI Refer to the installation manual for details on setting up VFX devices 9 11 1 Operating VFX To use VFX first press VFX TRIG EN RND Ao SINE i AVE FEEDBAC TRIG EN C RND AE SINE HI FRE AWE LOW FREG TRIG EH 2 PNO aur 10 SPEED ou FEED THA REFLEX Select VFX device by touching one of these icons Loading meter VFX begins loading MIDI data to its devices immediately on startup but it does this in the background to avoid wasting time If this meter is present loading is in progress Changes you make to a device will be made after the current load HaT FSH Q I a 0 ali PAN POS DIRECT F 50 72 DELAY FINE BOTH He Se Y oe ou YPASS WOL DL DIR PHASE E BOTH fs PAM SELECT Lc electronic 2290 PRESET LOAD EXIT ff SAVE RE TH Zo HEL Touch to load Touch to save Touch to re patches see patch see send the below below current screen setup to the device Touch to save or load device presets see below Page 64 User Manual
54. erned by the L C R law with the Front Back law separately defined For each type of pan there are 4 preset laws defined which may be applied by touching the selector box and select ing a different preset These presets may be edited by touching the edit button at which time a variety of different pan laws and parameters may be changed The presets may also be renamed The main graph shows the level curves for each output from the panning system Thus for a mono signal being panned from left to right on a standard L R pan law screen the green line represents how that signal will appear on the Left Output and the Red line how it will appear on the Right output as you pan from left to right In an L C R pan a yellow line represents the output from the centre channel The left of the graph represents the pan pot being panned full left and the right side of the graph panned full right In the Edit screen the small graph above the main graph shows the sum of the levels at any given pan position Thus a flat line indicates that the total output power will be constant across the pan Changing parameters has an immediate effect on the pan law for the currently selected channel i e the effect may be auditioned whilst in the edit page Closing the edit page and the main panning page leaves that pan law assigned to that channel If desired a pan law may be applied to all channels simultaneously by checking the As sign These
55. es are switched into the monitoring in two stages First a source is selected by the X Point Matrix and then the Matrix Outputs are connected to the External Inputs of the Surround Monitor which then selects these inputs to monitor 6 2 3 1 Defining External Sources External sources can be defined during installation Each source can be as wide as 6 audio signals Setting this up is fully explained in the Installation Manual oe Controlling the X Point Each external source created during installation includes instructions to the X point matrix telling it what connec tions to make so that the external source ends up at the inputs of the Surround Monitor The connections are made automatically when the External source is selected from the CR Mon amp Studio screen Page 28 User Manual cme AUDIO MIXER EDITOR TM THE BENCHMARK IN DIGITAL AUDIO Man _ _External__ Speaker 1 5 __f 2 C mn z External _ Speaker 2 Sub Buses e p se u Mono Auxes lt 6 Stereo Auxes e C R Mon AFLPFL_ e outa External Speaker 3 mainaMe sis Man Main __External__ Speaker 4 5 __f US Man CD Player External _ peaker 5 2 lt DAT X Point Bus lt 6 __External__ Speaker 6 5 f Surround 2 Multiplexer Optional Surround Monitor Normal Connections to the Surround Monitor showing only the
56. first six inputs the others are used for Studio Monitoring User Manual Page 29 AME AUDIO MIXER EDITOR 8 3 Channel Configuration The Channel Configuration screen shows all parameters for a single channel FEED It can be accessed using the appropriate System Mode key or by double pressing any channel s INT key Touch here to copy Touch here to link Touch to select Assign Button Touch here to and paste data and unlink stereo Next Previous select a different feed can also between channels channels Feed be done with the INT button Sets the send to Auxes PRE Ene POST fader Touch here to Monc_R i assign the feed MoNa_L m EQ DYN gt TRACK f to M1 icons for peed JAI he BUSSES the other busses AFE al also appear if aa 1 es a allocated i UNUSED UNUSED INUSED T NOIR Touch here to EEE UNUSED select a direct UNUSED Physical Output for the feed Touch to change to Input balance control Stereo Feeds only Touch here to Touch here to Touch here to Touch here to Touch here to move the Touch here assign a source make the assign the feed set up an EQ and Dynamics into the to arm the Physical Input channel to a Control Insert Send input path of a Track audio track for the selected immune from VCA Fader Return for the Feed This allows EQ and feed Solo in Place Group feed Dynamics to be included in the signal being ded You may select a feed for conf
57. for file management allowing Titles to be copied deleted etc Provides choices for some user settings including assignment of faders to the CAP operation of the screen saver and startup definitions MACROS This screen allows screen macros to be recorded into the system and assigned to the User Keys on the console _SMARTKEYS This screen is used to set up the optional Smartkey Panel if fitted TIMECODE Allows setting of timecode parameters When using FAME the timecode source must be set to External this means the mix automation follows timecode coming from the MFX Mainframe system but this is automatically set on bootup Triggers fire macros 12 triggers are pre defined in FAME and these are the 6 user keys and 6 SHIFT user keys This allows you to exit the FAME system and return to DOS User Manual ome AUDIO MIXER EDITOR Page 15 6 5 Fader Screen Menus ra fica fica iira ka fira lt I z There are several screen menus which only appear when the default fader screen is being shown These are summa rised below Turns automation on or off Sets the time for the automation to ramp to stored values at the end of a WRITE Governs what the automation does when you stop the transport while writing data Governs the sequence of automation states that occurs when the SEL button is pressed on any channel Controls the Automation Auto Punch In Punch Out facility This swit
58. ge Switching on SFS causes the send to follow the pan from ODD to EVEN Left goes to ODD numbered busses Right to EVEN Page 32 User Manual cme AUDIO MIXER EDITOR 8 3 12 MS Decoding Input configuration options When a Stereo Channel s Channel Configuration page is displayed options are available for L and R input phase reverse MS Decoding On Off and selection of Input format The Input format buttons operate as follows Normal Left Input to Left Feed Right to Right Feed L sends left Input to Land R Feeds R sends Right Input to L and R feeds REV sends Left Input to Right Feed and Vice Versa NOTE These options MS Decoding Phase Reverse and Input configuration only apply to PHYSICAL INPUTS not to Disc recorder returns 8 3 13 Input Phase Reverse The L PH and R PH buttons reverse the phase of the input This works on PHYSICAL Inputs only not disk recorder returns Page 33 User Manual i Tl p AUDIO MIXER EDITOR 8 4 Buss and Group Assignment The easiest way to do buss and group assignment is to use the Routing Screen under DATA because you can set the assignment for all channels and busses without changing displays To use this screen l Press 2 Press Routing 3 Touch a Buss or Group to which you want to assign feeds 4 Touch all feeds you want to assign 5 Move to the next Buss or Group The Channel Configuration screen can also be used for ro
59. his area and wish to return to the FAME environment type FAME lt RETURN gt You should always restart the FAME application on the PC after restarting the Editor 4 3 Running the System as an Editor If you wish to run the system as an editor only exit to the Shell as described above and type MFX3 lt RETURN gt This will cause the system to run as MFX3 this particular time but next time it is booted it will start as FAME again To make the system boot up as MFX3 boot it normally then type BEMFX lt RETURN gt then reboot This can be useful if you wish to move the system to another room or connect it temporarily to another mixing console When you wish to change the system back into a FAME type BEFAME lt RETURN gt Note the main differences between MFX3 and FAME are e MFX3 is a multitrack editor whose tracks come out of individual outputs or as a stereo mix from outputs 1 and 2 e FAME is a multitrack editor with a built in mixer All outputs are mixes ofthe tracks and Live Feeds except those used as Insert Sends or Direct Outputs User Manual Page 9 AME AUDIO MIXER EDITOR The Control Surface Master Control Section Used for high level control of configu ration and displays Central Assignment Panel Any signal path can be assigned to this panel where its EQ Dynamics and Auxiliary send levels may be altered and automated GATE EXPANDER Attack Range
60. ication It is essential that an MFX project be open before starting up the FAME The reason for this is that when the MFX is booted up there is a port to track association Input 1 to track 1 Input 2 to track 2 Input 3 to track 3 and so on When the FAME surface is started it will load a system default setup which configures the Inputs Outputs and buses To achieve this the FAME sends instructions to the MFX to change its configuration The MFX will only process these instructions when it has a project open Failure to have a project open on starting the FAME will result in the systems being out of synchronization which can cause serious problems in operation 7 3 MFX User Interface The term START UP Menu refers to the initial state of the Mixer after being booted It boots to the START UP menu with the only option being to QUIT TO DOS Initially a title must be loaded from or stored to an MFX Project before it is possible to start work This is achieved in one of the following methods 7 3 1 Creating a new project A Message box will appear on the MFX Screen Create New Mixer Data YES NO a Select YES and the current mixer settings are copied and loaded into the mixer as a new title with the data being stored into the newly created project FAME now has a title loaded and the new project is open Messages on MFX Creating New Mixer Title on clicking Y New Mixer Title Created at completion of titl
61. ides a simple but comprehensive method of setting up the open collector circuits that are used for electronic triggering Note that the operation of this software depends on the presence of the GPO card in your PC 9 12 1 Setting up GPOs To set up GPOs AD otiovedoy FRU STARTS SS STATE Display Output Output ON OFF a a aa a Touch Ses Touch here to ia set the OFF _ triggers only if output mode is Fi continuous 2 ae Touch here to set the ON triggers see below Touch here to Touch here to Shows the current Touch here to choose Touch here to set toggle the change the name state of the GPOs which fader s Elec Output Mode for output polarity of this GPO and will react in tronic Writing Strip a GPO see below real time shows the special symbols indicating GPO ON or OFF 9 12 2 Output Mode The output mode of the GPO can be set to any of three states Disabled The GPO does nothing Continuous The GPO has separate triggers to turn it on and off The ON and OFF Triggers are set by touching the appropriate boxes They may be related to different faders if required After the ON trigger has been activated the GPO stays ON until the OFF trigger is activated Pulse The GPO turns ON when its ON Trigger is activated stays ON for the period of the Pulse then turns OFF There is no separate OFF Trigger Page 66 User Manual ome AUDIO MIXER EDITOR 9 12 3 Setting ON Triggers
62. iguration a e by pressing the INT button on its fader double press if the Channel Config page is not currently shown e by touching the fader if Assign to CAP via Touch Sensors has been checked on the Preferences screen e by soloing the fader if Assign to CAP via Solo Switches has been checked on the Preferences screen e by pressing the Assign button on the Central Assign Panel and choosing a signal path from the screen e by pressing the Assign button on the screen and choosing a signal path from the new screen that appears Note if the Channel Configuration screen is currently displayed you can make it go away by pressing its System Mode key or by double pressing the INT button of the currently displayed FEED 8 3 1 Live Feeds Live feeds are channels connecting physical inputs to the digital mixing engine Before a live feed can be heard it must have a physical input patched to it 8 3 2 Track Feeds Track feeds are channels connecting the audio from disk recorder playback to the digital mixing engine When a track is armed for recording the situation is a little more complex Like any recorder FAME switches the playback of armed tracks between input and output depending on the transport state and this determines which audio signal comes into the mixer from the track feed Page 30 User Manual AUDIO MIXER EDITOR In general mixes are performed with the tracks disarmed and then there is no work to do to get the sound coming th
63. ion including level fader mute individual aux sends individual EQ bands and dynamics modules not in this software revision Touching any box will make it ready to be written Touch ALL to enable all parameters From that time any channel that is put into Write with timecode running will start to write over the existing data for that parameter Note that two EQ bands HM HMF and LMF LM are included in each EQ choice To record one of these bands without the other use UPDATE mode and leave one of them static while moving the other 10 1 3 Mix Screen Menu Buttons Touching the All Write screen button puts all channels into Write mode This should be used carefully because it applies to channels which have a fader on the console surface and also to those which do not In other words you could be overwriting fader moves which you cannot see Touching the All Read screen button puts all channels into Read mode i Puts all channels into Update mode described above This is a safe move because no data is changed until you move a fader User Manual Page 1 ome AUDIO MIXER EDITOR Touching Arm All puts all faders into TOUCH WRITE if Touch Write has been enabled on the Sel SW button or it puts all faders into PREVIEW if Read Prv Write has been enabled and the Record button has been pressed NEUM Prepares everything so you can start writing automated mixes This includes I Puts Mix ONLINE 2 Puts a
64. l load as they would if you were running the editor as an MFX If you try to LOAD MIX DATA while the Mixer is off or in DOS you will get an error message Mixer Not Connected When a project is closed the Mixer will always return to the START UP menu even though the Title data and mixes are still present This is because no file operations are possible on FAME unless a Project is open on MFX 7 4 System Configuration FAME can be also be configured to allow projects to be saved to the local hard disk inside the FAME PC rather than storing the title within the Project on the MFX l The FAME Mix Automation software should be exited or the PC should be booted to the c Prompt Then type c dsp system console com Then type edit console com Scroll down down the configuration entries until the follwoing line is found stargate amek hsl PA Ifyou want to save files locally to the FAME PC and NOT to a MFX Project Then type stargate amek hsl Then save the file and exit the editor User Manual Page 21 AME AUDIO MIXER EDITOR Refer to the following Chapter for operational instructions on Titles 3 If you want to save files to an MFX project Then type stargate amek hsl Then save the file and exit the editor Refer to the previous pages 19 21 for operational instructions on saving titles within Projects on to the MFX Page 22 cme AUDIO MIXER EDITOR User Manual 7 5 System Startup
65. labelled from 40 dB to 10 dB and this is referenced to 10 dBFS to provide headroom This means that 10 on the rotary control corresponds to 0 dBFS the maximum level of the digital channel Ratio shown as N 1 for every N dBs by which the input audio exceeds the Threshold level the output audio rises by one dB For example if the Ratio is set to 3 1 the audio output from the compressor rises by one dB for every three dB increase at its input Attack the time taken by the compressor to activate after the audio exceeds Threshold Setting the attack too fast may result in objectionable artifacts due to the gain reduction aliasing into the audible spectrum Release the time taken for the compressor to remove its gain reduction after the audio has dropped below Thresh old 05 31 Expander Gate Threshold sets the audio input level below which gain reduction will start to occur The rotary control is labelled from 40 dB to 10 dB and this is referenced to 10 dBFS to provide headroom This means that 10 on the rotary control corresponds to 0 dBFS the maximum level of the digital channel Range the maximum amount of gain reduction produced by the Expander Gate Gate ON OFF When the Gate is switched ON the audio level is reduced by the entire amount of RANGE whenever it drops below Threshold When it is switched OFF the Expander operates and this drops the level by a ratio of 2 1 Attack the time taken by the Expander Gate
66. ll faders into WRITE 3 Switches on all WRITE ENABLES This is especially useful for writing a manual balance to the automation without the risk of the automation moving anything before you are ready Here s how Mix should be OFFLINE because you have been working manually Locate to the first point of the sound allow about half a second for the automation to start up Touch the NEW MIX screen button ee he Put the transport into Play and the automation will start writing in about half a second FORGET PASS Throws away all the mix changes in the last timecode pass _ SPEED SAVE Saves the current mix using the last name if any of a mix you saved plus an incremental number This avoids interruption to the creative process Page 2 User Manual cme AUDIO MIXER EDITOR l Asks you to type a name for this mix and saves it to disk You must have a title loaded or created and saved before you can save any mixes Allows you to choose a stored mix for loading Allows you to remove mixes from storage on hard disk 10 2 Getting Started with Automation To try and make it easier for you to get started with the automation here is a step by step description of what you have to do It is assumed you have already created a balance for the first moment of the mix Touch New Mix Mix is now Online all WRITE ENABLES are ON all faders are in WRITE mode and ON STOP will Write to End Locate the tr
67. meters Channel Configuration page meter SOLO meter and I O port meter 0 0dBFS Software meters main meter page Default Meter settings DIN PEAK 0 9 dBFS 13 dBu on standard system VU 0 18 dBFS 4 dBu on standard system BBC PPM6 14 dBFS 8 dBu on standard system NORDIC 0 18 dBFS 4 dBu on standard system DIGITAL 0 0 dBFS 22 dBu on standard system The meter scales may be adjusted to accommodate different operating levels See the Installation Manual for details Dot These choices affect the hold time of the peak meters 8 7 1 2 Select Channels Choose the signal paths you would like to meter by pressing the fields in the Select Channels box and touching the signal path for each of the meters You may use the scroll bars on the side of the Select Channels box to access more signal path names Saving Meter Sets Meter Sets are automatically saved when you update the current title User Manual Page 3 AME AUDIO MIXER EDITOR 8 8 Talkback A microphone is provided for talkback When needed it is connected to one system input and controlled by the CUES amp COMMS System Mode 8 8 1 Operation There are two talkback buttons on the console TALK 1 and TALK 2 Each one controls a different routing for the talkback signal available at any time COMMS TALK ff TALK 1 2 8 7 2 Setup CUES TALKBACK E at ei Li a 1 Assign live 12
68. n and these can be auditioned and A B ed with the current setting The channel selected when you open the screen will be the same one you have selected for the CAP and you can change the selection by the same methods These are listed in the previous paragraph User Manual Page 1 1 AUDIO MIXER EDITOR DYN i Shows a graph of the Dynamics setting for the currently selected signal path which changes as the Dynamics are altered CRMON STUDIO Allows you to see and change the sources feeding your monitoring system Screen for assignment of talkback to appropriate destinations MASTER AUXES E Sets the master level and output assignment for aux busses and multitrack busses VFX t Virtual Effects Allows control of external MIDI devices from an animated screen METERS il Places meters on the screen You may also choose and edit meter sets which are arrangements of meter numbers source channels and types that have been saved with the current title or preset MATRIX oi Gives you a picture of your X Point switching system and allows you to change the connections The Matrix setup is saved as part of the current title FADERS TO Allows you to switch the faders to control such things as the Aux send level from each channel or the send level to the 6th Boom channel of a 5 1 mix setup Page 12 User Manual cme AUDIO MIXER EDITOR 6 4 Touch Screen Menu Summary Th
69. n fader Normally the SUB send is a trim to the main fader position i e SUB follows main fader This button makes the SUB fader an absolute fader level 8 1 8 Solo Check only This will allow only Solo in Place to be selected e AFL PFL Dest In this mode no busses are dedicated for AFL PFL When AFL or PFL is selected as the Solo Mode two of the M1 busses are stolen and replaced by the soloed channels Even when M1 is wider than 2 channels e g LCRS all of M1 s outputs are muted The advantage of this mode is that SOLO does not consume busses e AFL PFL Non Dest With this option selected AFL PFL have a pair of busses reserved for their use M1 is not interrupted by solo making it possible to solo a channel while the main buss is being recorded e SOLO to C R With this option checked soloing a channel causes the SOLO busses to take the Control Room Monitor outputs replacing whatever was being monitored in the main speakers Switching this option off allows SOLO to be sent to alternative speakers without interrupting the main ones 8 1 9 C R Monitor See Monitoring Setup below User Manual Page 25 AME AUDIO MIXER EDITOR 8 1 10 Define Port For each group of busses the Define Port button allows you to set the output port for each element of each buss To set the ports for a category of busses l 2 3 4 5 Press the Define Port button m e OUTPUT 17 KB ETA ny Choose a buss element
70. n the system but narrower sub buses receive only panning parameters they can use Sub Busses must be created in the order B1 B2 B3 B4 and destroyed in the reverse order Thus it is impossible to have B2 and not B1 Page 24 User Manual cme AUDIO MIXER EDITOR 8 1 5 Main Busses You may create or 2 main busses known as M1 and M2 They may have any buss width namely stereo Dolby Surround LCRS Stereo Surround LCRSS or 5 1 format LCRSSB Panpots on faders that are assigned to main busses automatically configure themselves to deliver the right number of destinations 8 1 6 Multitrack Busses These are separate mono busses that are accessed from the Channel Configuration page Stabbing the Box under Multitrack Busses allows the user to enter a number corresponding to the number of Multitrack Busses required These will then appear on the Channel Configuration page for access 8 1 7 5 1 Format 5 1 format is enabled by setting at least one main buss to be 5 1 format on the Buss allocation page Monitoring is separately switched to 5 1 on the same page When 5 1 is enabled the level of any channel to the Boom channel is set by activating the Faders To function and selecting BOOM At this point whilst the Faders To page is active the faders will be controlling the levels sent to the Boom buss On the channel configuration page you will see a button that makes the SUB send pre mai
71. n the user and the hardware from the FAME control surface These matrices are called virtual matrices and are setup to provide a way of routing controlling signals into and out of the various X Point boxes connected A virtual matrix is made up of Inputs and Outputs that are selected from the physical I O connected to the various X Point boxes The user interface accessed using the MATRIX page inside FAME allows the user to easily route and reroute signals from the Inputs of the virtual matrix to the outputs of the virtual matrix on the screen 6 Virtual Matrices can be defined For futher infroamtion on configuring Matricies please refer to the FAME Installation Manual 9 8 1 Using the MATRIX page Patching signals via the X Points is done using the MATRIX page in FAME This is accessed using the MATRIX system key The matrix page contains patching information relating to the currently selected matrix and a matrix selection area which contains all the matrices defined in the setup There are two screens which can appear i Matrix lt 16 Wide This is the screen that will appear to control a virtual matrix which has less than or equal to 16 inputs and 16 out puts ii Matrix gt 16 Wide This screen appears for virtual matrices that have more than 16 inputs or more than 16 outputs Page 58 User Manual cme AUDIO MIXER EDITOR To load a defined martix set up and connect to eleemtns within it return to the main FAM
72. n there is no title loaded on the mixer the project will close and nothing else will happen 2 Whenever you close a project while there is a title loaded on FAME 2 you get Message on MFX Update stored Mixer data YES NO a When you select YES the mixer data currently on the mixer will be packed up and stored into the project you are closing This operation will overwrite existing mixer data within the project The project will close and the mixer will return to the START UP menu Messages on MFX Receiving Title Data from Mixer on starting transfer Importing object into project during transfer Title Store Complete on the completion of the transfer b Ifyou select NO the project will close and the mixer will return to the START UP menu Closing a project which contains no mix data will result in Message on MFX Store Mixer Data in Project YES NO a On YES Mix data is embedded into the project with the FAME messaging as 2 a above b On NO the project will close and will not contain any mixer data 7 3 6 The UPDATE button on the Mixer This button is only available once a title is loaded Clicking this button will embed the current mix data into the current project On clicking the update button it is impossible to activate the following commands until the transfer is complete l Project Open library files 2A Project Close 3 Project Version downgrade 4 Extend 5 Imp
73. nds and go back into whatever transport mode it was in normally Stop or Play To set the amount of Rollback touch TRANS SETUP under MIX 9 7 6 Again Pressing the AGAIN button causes the transport to play from the same place as the last time stop at the same place as last time then locate to the begining again Note that the Play Again command available in the Editing Console does not stop at all but keeps going until you intervene User Manual Page 5 AME AUDIO MIXER EDITOR 9 8 Controlling X Point X Point is a passive relay matrix switcher which can be driven from the screen and used to connect any inputs and outputs required Its normal layout is 24 x 8 physically and that can be broken into smaller soft matrices It is also possible to combine more than one X Point that define matrices which combine physical elements of both This section of the manual describes how to load a defined matrix setup and how to connect elements within it While the Matrix is normally used for routing audio both analogue and digital an X Point can transmit any type of electonic signal including MIDI and RS422 or any other signal which can be sent down a wire Each Input and output on an X Point has a through connection which allows for the same signal to be routed to more than one place at once Physical X point boxes are connected to the FAME surface and then software matrices are setup to provide an interface betwee
74. nnel names entered on the Channel List page Locate Points offsets preroll Mix Data e Matrix settings created while the title was open e Fader sets created while the title was open Meter sets created while the title was open e All Cue List information e 10 user presets and one system preset containing all the current settings that were active when the title was saved or updated consisting of e Configuration of Tracks Inputs etc including names grouping buss allocation routing to busses and assignment of physical inputs and outputs e Current Fader EQ and Dynamics setting for each source signal e Settings of outboard equipment being controlled by the VFX system e Settings of all non automated controls such as input trims stereo width etc e Current patching of X Point matrix switcher e Current settings of Surround Monitor excluding Monitor volume levels User Manual Page 17 AME AUDIO MIXER EDITOR Fame 2 can be configured to store Titles in two different ways 1 Tiles can be stored within Projects on the Editor When a project is open on the editor the title can be loaded into the Mixer the title can then be saved back into the project on the editor The following pages describe this operation 2 FAME can be also be configured to allow Titles to be saved to the local hard disk inside the FAME PC rather than storing the Title within the Project on the MFX See Section 7 4 7 2 MEX and FAME Commun
75. on will be retained the next time the Faders To page is selected Fader Assign MONO AUH f MONO AUH STEREO AUH BUS 1 LATCH 9 1 8 Fader Groups Grouping several faders under the control of one is an efficient way to get control of a complex mix FAME allows you to create up to 8 fader Groups and set Master faders for each of them To assign channels to a fader group l Open the ROUTING Screen under DATA 2 Touch one of the buttons representing Groups 3 Touch all signal paths that you want in the group OR l Open the Zoomed Fader Screen press NORMAL ZOOM under MIX 2 Touch one of the grey buttons between the fader track and the Mute button Each button represents one of the Groups counting down from the top l Open the Channel Configuration screen by pressing its System Mode key 2 Touch the desired Fader Group button in the lower centre of the screen 3 Touch the CLOSE button OR Page 42 User Manual cme AUDIO MIXER EDITOR l Press the CHANNEL LIST screen button under DATA z Touch the box under the Group column opposite the channel you wish to assign 3 Touch the number pad selecting the number of the Group to assign 4 Touch the CLOSE button Make sure that the Group Master Fader is set to a reasonable value or the Group members will send no sound to the mix Group Masters are only available when there is a channel assigned to that Group and they disappear when the last channel is
76. ontent All editing of audio content is done on the Editing console Shows a list of the locate points you have created and allows you to edit them numerically Allows setup of Automation Drop In and Drop Out Allows you to set up some transport functions The most relevant is ROLLBACK Changes the default fader screen to give an enlarged view Moves the display from one fader bank to the left or right User Manual ome Page 13 AUDIO MIXER EDITOR 6 4 2 The Data Menu ile UPD title _ Saves your currently loaded title without changing its name Allows you to quickly get your changes safely to disk LOAD TITLE Allows you to load any title that has previously been saved A title contains all the mix information presets fader sets etc that were used the last time it was saved SAVE TITLE AS Allows you to save the current setup under a new name Allows you to record and store information about the current title A list of events that may be fired at preset timecodes l A screen showing all fader channels allowing you to see and change names physical I O and grouping i If the optional GPO card is fitted this allows the setup of GPOs to correspond with opening and closing of nominated faders A list of the physical inputs and outputs allowing you to see the usage of these resources A table showing the use of the system s mix busses __PR
77. or Box The Surround Monitor Box is a3 unit rack mount providing analog monitoring for Fame Its use is fully described in the section called Monitoring Setup 1 8 X Point X Point is a3 unit rack mount box providing a passive relay matrix switcher that is controlled from a menu available on the touch screen It can be used in 16 x 16 24 x 8 or 32 x 8 formats Page 5 User Manual i Tl p AUDIO MIXER EDITOR FAME Mixer Overview 2 1 Mixing System Overview The FAME mixer has a 36 into 12 digital core please see diagram There are 36 input channels or FEEDS 24 of them are the outputs of the recorder editor known as Track Feeds The other 12 channels are called Live Feeds and these have sources outside the system The 12 mixed outputs or BUSES are different combinations of the 36 FEEDS They are used for Main mix outputs auxiliary sends extra mix busses solo and mix minus outputs and can be reassigned to any of these functions at any time Physical Inputs FAME Mixer Core A B 1 Coe 7 3 Mixer Feeds Mixing Mix Physical Outputs 2 m san Engine Buses B F E j D enu EN gt co Ss ee 5 C Hf a Oe B wE Ss oe 2 3 36 if a ioe BUS 3 EJ 36 gt oo BUS 4 9 10 gt BUS 5 3 Ret inserter a See oH 36 12 Lbs j BUS 6 13 L 7 36 mnnn Insert Ret BUS 7 14 L_ reer x is Lo n Insert Ret 46 C a 2 FEED 26 2 gt 17 BUS 9 18 C 36 19 C F x a
78. ort Load Mix Data 61 Clicking UPDATE on the mixer again possible but ignored The Messages displayed during this operation are Updating Mixer Data on clicking UPDATE Mixer Data Updated on completion of transfer 7 3 7 Extending Project containing embedded Mixer Data On Extending the project a message box appears Update existing Mixer data before extend YES NO Page 20 User Manual AUDIO MIXER EDITOR a On selecting YES the title is updated and then a copy of the title data is embedded into the extended project b On NO the mixer title isn t updated and a copy of the title data embedded into the original project is copied and stored into the extended project Thus the original and the extension both contain un updated mix data 7 3 8 Removing Embedded Mixer Data from a project To remove embedded mixer data from the project go to the PROJ gt gt NEXT gt gt NEXT click the PROJ VER soft key and select to 15 1 then click ENTER Message on MFX WARNING This Operation will permanently discard the following Embedded Mixer Data OK CANCEL a Selecting OK will downgrade the project version to 15 1 removing any embedded mixer data stored in the project This is signified by the message PROJECT VERSION DOWNGRADED b Selecting CANCEL returns the user to the project menu 7 3 9 Notes The system detects which state the FAME is in If it is off or in DOS projects wil
79. pen b Select NO and the project opens but the mixer remains in the START UP menu At this stage it is possible to load Mixer data from a completely separate Project using the LOAD MIXDATA option 7 3 4 Using LOAD MIXDATA in the import menu Anytime there is a project open it is possible to load mix data that is stored from within another project onto the FAME This is done by going to the IMPORT menu browsing to the project you wish to get the embedded mix data out of clicking ENTER opening the project as a library file and then clicking LOAD MIXDATA the second soft key FAME must either be in the START UP menu or have a title already loaded Upon doing so the mix data embedded in the library file is sent to FAME If you have a project open which contains embedded mix data clicking BLUE IMPORT LOAD MIXDATA without opening a library file first will send the data contained in the current project to the FAME Messages displayed after clicking LOAD MIXDATA Sending Data to Mixer Unpacking and Loading Mix Data Please Wait Title Load Complete During this transfer the following functions are disabled L Project Open library files 2 Project Close 3 Project Version downgrade User Manual Page 19 AME AUDIO MIXER EDITOR 4 Extend gt Import Load Mix Data 6 Clicking UPDATE on the mixer again possible but ignored 7 Import Open 7 3 Closing a project l Ifyou close a project whe
80. r and you should touch it again The computer then asks for confirmation of the changes you have made so you must either touch the screen click with your mouse or press the ENTER key on your keyboard You will find your aim is much improved by this procedure 6 3 System Modes The System Mode Keys determine which display is shown on the Touch Screen To enter a mode press the System Mode key To exit press the same System Mode key again or press the CLOSE command on the touch screen This will return you to the fader screen The available system modes are CHAN CONFIG d Allows you to see and change the physical input and output insert send and return and buss assignment of any signal path The channel selected when you open the screen will be the same one you have selected for the CAP and you can change the selection by the same methods These are e by pressing the INT button on any fader e by touching the fader if Assign to CAP via Touch Sensors has been checked on the Preferences screen e by soloing the fader if Assign to CAP via Solo Switches has been checked on the Preferences screen e by pressing the Assign button on the CAP and choosing a signal path from the screen e by touching the Feed name at the top of the screen and choosing from the new screen that appears EQ I Shows a graph of the EQ setting for the currently selected signal path which changes as the EQ is altered A library of saved EQ settings is also show
81. rc asi oo inser Fat s D aC ee i ee 23 O Output Matrix 6 Wl Input Matrix Internal Internal Page 6 User Manual cme AUDIO MIXER EDITOR 2 2 Inputs and Outputs Overview The 24 INPUTS are divided into A and B types The A Inputs are 1 2 5 6 9 10 13 14 17 18 2122 The B Inputs are 3 4 7 8 11 12 15 16 19 20 23 24 When patching an INPUT to a FEED certain restrictions apply K Track Feeds can use both A and B Inputs as sources 2 Live Feeds can use only A Inputs as sources 3 Insert Returns can use only B Inputs as sources The 24 OUTPUTS are also divided into A and B types with exactly the same numbers When patching a signal path to an output this is called Defining a Port in the software restrictions once again apply l Busses can only use A Outputs L Insert Sends and can only use B Outputs gt Monitor outputs can use either A or B Outputs 4 Direct Outputs can only use B Outputs Inputs are patched to Tracks on the Channel Configuration screen of the mixer This is described later in this manual Live Feeds Live feeds are channels connecting physical inputs to the digital mixing engine Before a live feed can be heard it must have a physical input patched to it Track Feeds Track feeds are channels connecting the audio from disk recorder playback to the digital mixing engine When a track is armed for recording the situation is a little more complex Like any recorder FAME
82. re nected patch point point on the other having mere than one on the other side to side which is to be connection by disconnect it conec od removing the previous connection when a new one is made The display shows the patch points of the rows on the left of the screen and those of columns on the right Touch ing a patch point on either side will light up the patch points on the other side which are connected to it The screen is used to connect or disconnect any patch point on the left to any on the right The available Matrices shown at the bottom of the screen are ones that have been defined in the setting up of the X Point s Page 60 User Manual ome AUDIO MIXER EDITOR 9 9 Writing Screen Macros Screen Macros can be used to automate functions on the mixer screen Each macro is a recording of a sequence of poins you touch on the screen exactly as you did it This means that the starting point of the actions has an effect on the proper working of the macro when it plays back To access macros On the acro Sheet the 5 by 5 grid of rectangles represents the macros that can be stored into the system at one time Touching any icon immediately executes the macro Alternatively touch one of the commands at the bottom of the screen then the macro to be acted upon DEMO MODE Starts a demonstration of all the macros in the system This is intended for unattended demonstration of the system and is inappropriate
83. rite New Data Put channels into write mode and write new data for them Be careful not to overwrite existing good data by carefully selecting faders and by disabling parameters that you do not want to change just now 10 3 3 Correct Existing Fader Data If you want to correct an existing fader pass there are several ways to do it Start timecode a few seconds before the part you want to change then e Put the fader into WRITE using the SEL button and take control of the level When you get to the end of the part you want to write put the fader back into READ and the Blend function will join your last level with the stored automation data If you exit by pressing STOP make sure you do not have Write to End or Write to Next enabled or all the subsequent mix information will be over written Note that the data at the point you stop will be merged into the previous data over the time in the Merge field OR e Put the fader into UPDATE using the SEL button The fader will stop moving and you may use it to offset the level of whatever has been written for that fader by raising or lowering the fader from its current level You may decide to remember where you started so that you can return to that level before you STOP and get a smooth transition between the old and new parts of the mix This can also be done by putting the fader back into READ mode which will cause the Blend function to work To put the fader from UPDATE back into READ you mus
84. rop In and Drop Out feature for the automation system The features are available when the mix system is ON LINE and the SEL switch setting includes WRITE mode The options that may be selected on this list are Disabled Auto and Drop In Out Disabled In this mode the automation operates normally Auto When this option is selected an additional mode ARM is added to whatever other modes are set for the SEL switch Thus if the SEL switch is set to be READ WRITE UPDATE then when Auto is enabled the SEL switch will toggle between READ WRITE UPDATE ARM where ARM is indicated by a flashing READ light All channels that are ARMED will drop into automation WRITE when the Play key is pressed and the system be comes locked some frames after the play key is pressed Drop In Out In this mode channels which are ARMED as above will automatically drop into and out of Write mode at predeter mined points The points are defined on the AUTOREC screen which may be accessed from the MIX page At the top of the AUTOREC screen there are timecode locations for Drop In and Drop Out These may be entered manually or captured by one of two methods e Capture In Pressing this button transfers the current timecode position into the Drop In point e Capture out Pressing this button transfers the current timecode position into the Drop Out point e Learn When this is enabled the next two depressions of the RECORD button on the lo
85. rough the channel As long as there is audio on the track it will be heard When a track is armed or switched to monitor its input at the Editing console it will only be heard if a physical input is patched to it actually you cannot arm a track unless it has a physical input 8 3 4 Sources The source for a FEED is the physical INPUT which provides signal for it Busses can also be selected as sources for FEEDS This allows you for example to record a Buss on to a disk track Channels which have been stereo linked will present two fields for input patching 8 3 4 1 Input port selection a a ee a ee O ESS een a The top section of the screen contains a grid into which are placed the appropriate selection buttons for the opera tion at hand At the bottom of the screen is a set of buttons representing different classes of Inputs that may be used for the chosen operation For example in an Input port selection page for a LIVE FEED the classes of inputs avail able are Input ports Main Buss Out and Buss Out so three buttons with these names on appear at the lower left of the screen Pressing one of these buttons puts buttons corresponding to all available inputs of that class onto the screen grid The buttons are additive so if we press both Input Port and Main Buss Out we see both types of inputs available for selection Once on the screen the appropriate button may be pressed to select tha
86. rs 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 ESP agent distributor or employee of an agent or distributor is author ised to offer any variation from this policy Copyright 2000 Fairlight ESP Pty Ltd Unit 2 1 Skyline Place French s Forest NSW 2086 AUSTRALIA Telephone 61 2 8977 9999 Fax 61 2 8977 9900 Text and Graphics by Andrew Bell Ross Caston Updated by Owen Walker Page 2 fi M p User Manual AUDIO MIXER EDITOR Contents 1 System Component scceeeee 5 7 3 MFX User Interface EE 18 1 1 Fame Engine aa 5 7 3 1 Creating a new project 18 1 2 Disk Drives for Audio Storage 5 a a ove mat coes nol 19 1 3 MFX Editing Console ccccccccceeee 5 eae AEA r 1 4 MFX Video Monitor cere n 8 e PPE N PAE E T 19 1 5 Fame Mixing Surface 0 0 5 734 Using LOAD MIXDATA in the import lO PO a AR 5 O tnestoxitor acces 19 1 7 Surround Monitor Box 0 5 735 Closing a project cccccccseseee 20 18 ee edanen 5 736 The UPDATE button on the Mixer 20 2 FAME Mixer Overview seses 6 Pat rey as containing a i e Xer LIGA orcrirsrspniersssirin 22 Inputsand Outputs Overiow 7 7 38 Removing Embedded Mixer Data from a project nee een een 21 Live FEES 0 0 ec ce c
87. s empty otherwise the software will first ask for confirmation that you want to overwrite the current contents of the line LOAD Touch a line on the preset box then touch this switch to load its dynamics setting into the currently selected Feed 9 5 5 4 Dynamics to Busses If the INT button is pressed on a Buss Master it will be assigned to the C A P and Compression functions not Expander gate may be applied to that Buss User Manual Page 55 AME AUDIO MIXER EDITOR 9 6 Joystick Operation Joysticks pan in surround format either 4 way when M1 is set to LCRS mode or 5 way when it is set to LCR SS mode To assign a channel to the Joystick press its Assign button and then press the INT button on a fader Repeat ing this action on the same fader releases it from the Joystick Repeating the action on a different fader replaces the first one on the Joystick The LED matrix shows you the current position of the signal in the surround field When replaying automated mixes in surround format the LED moves independently of the joystick showing the position of the signal being played back by the automation When you switch the panel into WRITE the signal switches to follow the stick 9 7 Transport Control Transport control from the Mixing console is linked to that on the Editing console The buttons work in parallel so you can press the Play or Stop button for example on either console and get the same result Synchronis
88. screen button 4 Edit the meter characteristics This is described below 5 Press the CLOSE screen button Your changes will be visible and the meter set will have been changed To save Meter Sets see below 8 7 1 1 Layout Choose a number of Bargraph Meters up to 8 or select dual VU Meters DUAL VU If you selected Dual VU there is no more work to do Press the CLOSE screen button to keep your changes BARS If you selected BARS there are many choices for the look of the meters Bar Type This affects the appearance of the bars You can try all four types quicker than you can read about them here Bar These choices affect the scaling and ballistics of the meters 0 on each scale is defined differently for each type of meter relative to OdBFS OdBFS will relate to absolute values when converted to or from analogue at the I O stages depending on what reference level has been set in hardware on the system In a standard unmodified system 0dBFS equates to an Input Output level of 22dBU 18dBm Com mon alternative reference levels for OdBFS are 18dBU 14dBm and 12 dBU 8dBm Check to see what your standard is using external analogue meters In all cases the value given below represents the amount of digital headroom left in the system when the meters are registering 0 The 0 levels for each different type of meter in FAME relative to OdBFS are Page 36 User Manual cme AUDIO MIXER EDITOR System
89. sgenncenensnineionavbin testeneies 40 10 1 Mix Control Buttons 0 0 8 68 9 1 2 Pan Balance cceee eee 40 10 1 1 Preview with Punch 71 9 1 3 TINS Surround scsccvccedcesetinandtaaes 40 10 1 2 Write Enables cccee 71 9 1 4 OO O EEE 40 10 1 3 Mix Screen Menu Buttons 71 9 1 5 Mute iieerererrrerrererrerrrreren 42 10 2 Getting Started with Automation 72 9 1 6 Fader Sets heicccesaevekivclelueslicts 42 10 4 How to Set Up for a new Scene 74 9 4 7 FADES 10 nussin 42 10 4 1 Method 1 oo ceccccccsecsceeesesneeeee 74 9 1 8 Fader Groups sseni 42 10 4 2 Method 2 74 9 2 Stereo Faders 2 ccc cccccccececceceeeeeeees 42 10 3 Howto Change an Existing Mix 75 9 2 1 Setting up a Stereo Fader 42 10 3 1 Set Write Enables 0 15 9 2 2 Cl E E E 44 10 3 2 Write New Data 75 9 2 3 Pan FOU ieogctcnmalian cocedeiousjosnctennmnttes 44 10 3 3 Correct Existing Fader Data 75 9 2 4 T We Ol eT N 44 10 3 4 Other Automatable Parameters 75 9 3 Custom Pan Laws 44 10 5 1 Mix Processing Commands 76 9 4 Monitoring er ee 47 10 5 2 Snapshots eee 76 9 4 1 BASIC CONOIS sissssisessnesnesensss 47 10 5 Mix Processing 0 cccceees 77 9 4 2 The CR Mon amp Studio Screen 47 11 Preferences ssssssssnsssnnnnnnnnnnnnnnnnnnnnn 78 9 4 3 The Aux Masters Page 08 49 a 9 5 The Central Assignable Panel CAP 50
90. switches the playback of armed tracks between input and output depending on the transport state and this determines which audio signal comes into the mixer from the track feed Sources The source for a FEED is the INPUT which provides signal for it Busses can also be selected as sources for FEEDS 2 3 Patching Inputs to Tracks Inputs are patched to Tracks on the Channel Configuration screen of the mixer This is described later in this manual 2 4 Insert Sends and Returns In FAME there are 12 available insert points which can be patched into any of the feeds Creating the Insert Send and Return can be done from the Channel Configuration page or from the Channel List Page Sometimes the system will only allow a limited choice of physical I O ports for use as Insert Sends and Returns This is because its architecture dictates the allowable connections between the Physical I O and the mixer In all such cases it is simply a matter of choosing which of the available ports you want to use User Manual Page AME AUDIO MIXER EDITOR 3 Running the System 3 1 Powering on the system a First turn on the Engine using the power button on the front panel b Next turn on the Mixer Surface using the power switch on the rear panel c Turn on the PC d Turn on the X Point e Turn on the surround monitor 3 2 Running the Fame Editor The Fame engine once started will boot up and launch the main software application
91. t Input 8 3 4 2 Taking Inputs Over If an input is selected for connection to a feed which is already connected to another feed or feeds a dialogue will appear asking the user whether they wish to Takeover that input Selection of Takeover will disconnect the input from any other feeds A Physical Input or Buss may be attached to more than one feed simultaneously so if one is selected and is already connected to another feed th e dialogue asks whether to Takeover or Share that Buss User Manual Page 31 ome AUDIO MIXER EDITOR 8 3 4 3 Source Type To set the Source Type touch the screen knob at the top left of the screen You can use the mixing console Jogger Wheel to move it up and down or move by single steps using the Up and Down keys The mouse can also be used with left button clicks moving up and right ones moving down 8 3 4 4 Source Trim Input trim level operates in the digital domain for both analog and digital sources It can be set by touching the red knob in the lower left of the screen and turning the mixing console Jogger Wheel 8 3 5 Insert Points Insert sends and returns may be created on the Channel Configuration screen 8 3 6 Copying Channel Configuration Pressing Copy copies the following data from the current channel into a clipboard l Level and Pan 2 Routing The Buss destinations gt FQ 4 Dynamics gt Auxes Aux set ups At any time the entire contents of
92. t select READ UPDATE on the Sel SW screen button OR e Put the fader into Touch Write Snap using the SEL SW screen button and then the SEL switch When you are ready grab the fader and write a new section then let it go and it will merge back into the existing recorded data 10 3 4 Other Automatable Parameters Other parameters which may be automated are i Input Parameters Buss Assignments Boom Channel Faders To Trim Page 4 User Manual cme AUDIO MIXER EDITOR 10 4 How to Set Up for a new Scene Sometimes you have recorded automation for one section or scene of a production and the next one is completely different You want to create a transition between the two scenes and the first requirement is to get a general bal ance or sound for the new scene 10 4 1 Method 1 Put all the faders into PREVIEW WRITE mode To do this l Touch Sel SW 2 Select READ PREVIEW WRITE 3 Press the Record e button on the mixing console 4 Press the SEL button on all faders whose balance you wish to set All selected faders now have real time control of level and all other automatable parameters and you can work on the new scene It is safe to preroll the scene from the earlier one where you have automation data written because the automation will not move any settings while PREVIEW mode is on This means of course that you will not hear the correct automation for the previous scene When you ha
93. t surround Behaviour of the Trim pot with stereo channels is described under Stereo Faders later in this section 9 1 4 Solo To operate the Solo system press the Solo button on the channel fader Alternatively you may touch the Solo screen button on any fader in the Zoomed Fader screen 9 1 4 1 Solo Modes Button The Solo Modes Button in the Master Control Section of the console allows you to choose SOLO MODES amongst three styles of solo Page 40 User Manual AUDIO MIXER EDITOR e AFL After Fade Listen the soloed channel s are heard after attenuation by their faders Even a channel which is not on a physical fader at the moment still has a fader level which is visible on the Fader Screen Soloing a channel causes the Solo buss a mix of the soloed channels to replace whatever was being monitored previously e PFL Pre Fade Listen the soloed channel s are heard before attenuation by their faders e SIP Solo in Place this works by muting all channels except the one s soloed It gives an accurate picture of the stereo placement of the channel and can be heard with reverb sends and returns etc which render it exactly as it is in the mix SIP is always destructive of the main mix so it should not be used while a mix is being printed to a recorder 9 1 4 2 Solo Defeat While using Solo in Place it may be desirable to exempt some channels from being muted This would apply for example to reverb re
94. tatus goes back to READ whenever the transport stops playing This is a safe mode because any following Play command will not alter the automation data unless you explicitly put a fader into WRITE M Auto DisArm When this check box is enabled all faders armed for Touch Write will automatically disarm when the transport is stopped as a safety feature to avoid accidentally changing values by touching faders Particularly relevant when Touch Write to End is in use Auto Disarm also automatically disarms faders enabled for Punch when the transport is stopped This prevents them from punching again when listening back to an automation pass that was just completed Page 68 User Manual cme AUDIO MIXER EDITOR When the SEL switch on the fader panel is pressed that fader changes its automation status only if Mix Mode has been selected see above The sequence through which the fader status changes is set by the SEL SW menu and the choice of sequences is Read Upd Write Normally the fader starts in Read mode i e if Auto Read is ON which means that the fader moves according to the automation data and the audio level does not respond when you move it by hand this applies only when the transport is in play Pressing the SEL switch once puts the fader in Update mode This means the fader is being used to add or subtract dBs from the existing automation level The position of the fader at the moment you enter update is taken as
95. tra busses since the system is able to route copies of the other busses to monitoring outputs on request Buss allocation can be changed at any time and the system will automatically adjust to the new setup The current setup cab be saved in presets and in the Title when that is updated Any main buss or sub buss in the system may be configured up to 5 1 operation subject of course to there being enough busses available to create them The panning on all channels will be appropriate to the largest buss created in the system Each buss may be individually configured to any configuration although M1 must be at least stereo 8 1 1 The Buss Allocation Screen To set up your bussing requirements press _ DATA gt followed by BUSS ALLOC Mix buss Allocation To use this display touch any of the rectangles that allocate the number of busses used for each purpose 8 1 2 Mono Aux Busses You may create as many as 12 mono aux busses known as Auxes to 12 If you set up too few aux busses now you can add more later as long as you have not used up all the busses for other things 8 1 3 Stereo Aux Busses You may create as many as 3 stereo auxes These are known as Auxes A B and C to distinguish them from mono auxes 8 1 4 Sub Busses You may create as many as 4 sub busses known as B1 to B4 They can be separately configured up to 5 1 format Panning on all channels will be displayed as appropriate to the largest buss created i
96. trol 54 55 Transport Controller 11 Trim 28 38 42 Trim Surround 38 Type 28 y VFX 64 W Write to End 70 Write to Next 70 X X Point 8 56 Page 84 cme AUDIO MIXER EDITOR User Manual
97. turns which help to give the sound its correct perspective in the mix To prevent SIP from muting a channel Open the Zoomed Fader Screen press NORMAL ZOOM under MIX Touch the letter D for Defeat on the fader channels that you want exempted from SIP 99 GROUP l Part of the Zoomed Fader Screen Read Write Switch Solo Button Solo Defeat Button Group Controls Pan Button Mute Button Group Assign Buttons l P LLLLLLLLL P LLLLLLLLL P LLLLLLELLL P LLLLLLLLL P L LLLLYLUL Note it is also possible to Defeat Solo by pressing the SAFE button on the Channel Config screen User Manual Page 41 ome AUDIO MIXER EDITOR 9 1 4 3 Clear Solo To remove the solo button from all soloed sources at once press the CLEAR button in the Solo Modes section All channels will return to normal 9 1 5 Mute Muting a channel has exactly the same effect as pulling its fader all the way down 9 1 6 Fader Sets Fader Sets are described in the section called Setting up the Console 9 1 7 Faders To This allows the channel faders to be used to control the send level to a buss These can be Aux sends or Boom sends Selecting one of the busses on the Faders To page will set all the faders to their channel s send level for the selected buss This behaviour for the faders persists while the Faders To screen is displayed If the Latch button is pressed then the current selecti
98. ue from moment to moment continuously All changes made in the EQ values can be written to the automation and thereby become a repeatable part of the mix Using the EQ controller on the CAP or any dedicated equaliser above a fader you can access four bands on any signal path There are two types of band e The High Frequency HF and Low Frequency LF bands are shelves with a choice of two turnover fre quencies e The High Mid MH and Low Mid LM bands are bell curves with sweepable mid frequencies and a choice of two Q factors Page 50 User Manual cme AUDIO MIXER EDITOR 9 5 3 2 Sweep Enable To make dynamic EQ more flexible press the Sweep Enable button Now the turnover frequency of the HF and LF bands can be swept by holding down the Frequency button and turning the Gain knob The Q factor of the HM and LM bands can be swept by holding down the Q button and turning the Gain knob 9 5 3 3 The EQ Screen Pressing the EQ key causes the screen to display a graph of the current EQ setting This changes as you turn pots on the CAP equaliser Eq Options TRACK 1 T El ar 7 WM Mit in sid Pe LOAD PREVIEW 9 5 3 4 Presets At the right of the EQ screen there is a library of saved EQ settings The buttons below allow you to use and add to these STORE To store the current EQ setting into the library of presets first touch an empty box at the right or an existing one if you want to replace it then tou
99. urces Output ports are allocated to monitoring by touching the DEFINE PORTS button on the C R Monitoring line of the Buss Allocation page The number of ports should be equal to the width of M1 e g 4 ports if M1 is LCRS Note that there is no restriction on which outputs A or B can be used for monitoring Normally M1 is the Internal source so the Monitoring ports output a copy of the M1 busses they may also be emerging from other dedicated ports for recording When a different internal source is selected e g AUX A the monitoring ports are re directed to pick up the stereo Aux A buss When a stereo source is selected all monitor outputs other than Left and Right are muted O22 Outputs for Sub Busses In many cases you may not need dedicated outputs for your sub busses particularly if you are re recording them back into the Disk Recorder and this can make more room for Monitoring outputs 8 2 2 3 Busses and Outputs for AFL PFL If you need to operate AFL PFL without affecting your Main Buss Output you must allocate busses to it by checking AFL PFL Non Dest on the BUSS ALLOC screen You still do not need dedicated outputs because the Solo busses can be automatically switched into the monitoring You should assign outputs to AFL PFL by touching the Define Ports button in the SOLO line of the BUSS ALLOC screen Then switch off SOLO to C R to prevent the main monitors from being interrupted 8 2 3 External Sources External sourc
100. ut port selection 26 Inputs 7 Insert 7 Insert Points 28 Insert sends and returns 7 Inserts 28 Internal Sources 24 J Joystick 54 L Limiter 52 Live Feeds 6 26 33 Locate Points 54 55 60 M Macros 62 63 Main Buses 21 Master Control Section 11 Menus 17 Meter Sets 35 Meters 35 MFX3plus rack 8 Mix 69 Mix Menu 14 Mix Processing 76 Monitoring 24 42 45 Monitoring Setup 22 Multitrack Buses 21 Multitrack busses 28 N Naming 33 Naming Signal Paths 33 O On Stop 69 Outputs 7 24 Outputs for AFL PFL 24 P Pan 38 42 Pan Balance 38 Pan Laws 42 Patching 7 Power 9 Pre Fade Listen 38 Pre or Post fader 50 Preview 73 Project 18 Q Q factor 49 R Read Upd Write 70 Restart mixer 9 Return to Mix 70 Returns 7 Routing 33 S Saving work 19 Screen Macros 63 Sel SW 70 Sends 7 Slate 37 Solo 21 38 Solo Defeat 38 User Manual cle AUDIO MIXER EDITOR Page 83 Solo immunity 26 Solo in Place 38 Solo Modes 38 Source for a Feed 7 26 Source Trim 28 Source Type 28 Sources 26 SPK2 switch 45 Stereo Faders 40 Stereo Linking 28 31 Sub Buses 21 Sub buses 21 Surround 38 Surround Monitor 8 22 45 Sweep Enable 49 Synchronisation 55 System Menu 17 System Modes 12 System Overview 6 System Startup 18 T Talkback 37 Timecode Format 54 55 Title 18 19 Touch Screen 12 Touch screen 12 Touch Screen Menus 14 Touch Write 72 Track Feeds 7 26 Transport Con
101. uting Each destination has a box on the screen which assigns when you touch it All busses that have been created are automatically placed on the config screen If you assign a channel to more than one buss equal levels are sent from the channel fader to each assigned buss though the Master Fader for each buss will also increase or reduce this level The Zoomed Fader screen allows you to assign Feeds to Fader Groups by touching the square buttons above the faders 8 5 Naming Signal Paths 8 5 1 Tracks Tracks can be named in two places One of these is on the Editing console which has a Name Menu for naming clips tracks and projects If you use this menu the name is also transmitted to the mixing console and will always appear on the Electronic Writing Strip EWS or any screen display with the new name The other place you can name tracks is on the CHANNEL LIST screen display under DATA To change the name touch the current name of a track then use the screen typewriter to spell out a new name This typewriter includes a Page 34 User Manual cme AUDIO MIXER EDITOR backspace key back arrow to remove characters a Shift key touch this to put the next single character in upper case and an Alpha Lock key which puts all characters you type in upper case You can use the PC keyboard if you don t like typing on the touch screen Naming the tracks on the Mixer screen does not cause them to be named on the Disk Recorder
102. ve set a balance for the new scene you may commence writing it to the automation in two possible ways l Roll the transport from before the start of the new scene and punch in the automation by pressing the Record button 2 Set the scene start and end points in the Auto Rec menu and set Punch to DROP IN DROP OUT Then roll the transport from before the scene and the automation will punch the new values in for the whole scene 10 4 2 Method 2 l Save the mix you already had Z Take Mix OFFLINE 3 Set up the balance you want for the new scene 4 Touch NEW MIX and record your balance through the scene 5 Use Mix Processing see next section to get a precise turnover point between the two mixes including a crossfade of the levels Page 75 User Manual i Tl p AUDIO MIXER EDITOR 10 5 Mix Processing Mix processing allows you to perform operations on the automation data that you have recorded These operations involve copying merging shifting trimming and so on within a controlled timecode range and on selected tracks To open Mix Processing Select source and or destination channels followed by Choose the type of process see below ome STEPS ka ORIGINAL UO ALTERNATE VO ALTERNATE VO A Track 5 Traks l O Q O Q __MIH PROC Start processing at the start of the Title Finish processing at the end of the Title Selectall _ Deselectall Choose
103. which Touch here to open a Start processing Capture the channels channels type s of mix Timecode keypad for typing using the param current timecode events you wish the start or end of the range eters that have point to process in which to process been set up Page 6 User Manual ome AUDIO MIXER EDITOR 10 5 1 Mix Processing Commands REPEAT Take the data within a range and reproduce it at another timecode for any selection of feeds MERGE Take a section from a selected mix saved on disk and place it into the current mix in memory SHIFT Take the data within a range and shift it to another timecode for any selection of feeds ERASE Zero the data for a range of timecode for a selection of feeds TRIM Move all fader levels up or down by a number of dBs within a timecode range for a selection of feeds COPY Copy data from one feed to another within a range of timecode SWAP Swap data between feeds within a range of timecodes 10 5 2 Snapshots In the DATA page the button titled snapshots gives access to a Snapshot screen 9 On the Snapshot Screen up to 64 snapshots can be captured stored or loaded recalled by stabbing the Capture button followed by a Snapshot Button or the Load button followed by a snapshot button A Snapshot consists of an instantaneous snap of all of the dynamically automatable parameters of the console Faders Pans EQ Auxes Dynamics Buss
104. ws you to copy a Cue Touch COPY then touch the number of the Cue to be copied MOVE Allows you to offset a Cue Touch MOVE then touch the number of the Cue to be moved INS CUE Inserts a Cue in the list Touch INS CUE then touch the number of a Cue The inserted Cue will go before it DEL CUE Deletes a Cue Touch DEL CUE then touch the number of the Cue to be deleted COPY SEL Allows multiple selected Cues to be copied Touch the SEL field of all Cues to be copied then touch COPY SEL MOVE SEL Allows multiple selected Cues to be moved Touch the SEL field of all Cues to be copied then touch MOVE SEL Page 62 User Manual cme AUDIO MIXER EDITOR DEL SEL Allows multiple selected Cues to be deleted Touch the SEL field of all Cues to be copied then touch DEL SEL ALL NONE Selects all Cues If already selected deselects all Cues SETUP Opens a screen allowing you to customise the behaviour of selections during COPY and MOVE operations RECORD Opens a screen which allows you to enter Cues on the fly while the transport is running The timecodes are captured from FAME s current position ADDI INS Allows you to add events to the Cues Touch ADD INS then touch the type of Event icons above then drag the icon to the Event s field of the Cue EDIT Touch EDIT then touch the Event icon in a Cue allowing you to determine exactly what the event is DELETE Allows you to delete an event Touch DELETE th

FAME Mix Automation V3.1

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