Mc2-66 User Manual V1_8

mc²66 Operator's Manual

Version:

V1.8/0

Edition:

07-03-23

Copyright All rights reserved. Permission to reprint or electronically reproduce any document or graphic in whole or in part for any reason is expressly prohibited, unless prior written consent is obtained from the Lawo AG. All trademarks and registered trademarks belong to their respective owners. It cannot be guaranteed that all product names, products, trademarks, requisitions, regulations, guidelines, specifications and norms are free from trade mark rights of third parties. All entries in this document have been thoroughly checked; however no guarantee for correctness can be given. Lawo AG cannot be held responsible for any misleading or incorrect information provided throughout this manual. Lawo AG reserves the right to change specifications at any time without notice © Lawo AG, 2005

Table of Contents

Table of Contents MC²66

1

Operator's Manual

1

TABLE OF CONTENTS

3

ABOUT THIS MANUAL

7

How to Use This Manual

7

Conventions

8

Topics

8

Marginal notes

8

CHAPTER 1: TUTORIAL

9

Welcome

9

Control Surface Overview

9

System Overview

10

Signal Flow

11

The Power of Layering

12

Integrated Digital Routing Matrix

13

Console Reset

14

Timecode Automation

15

ACCESS CHANNEL/ASSIGN and SCREEN CONTROL

16

The Console Keyboard

25

Getting Started

27

Creating Your Own Configuration

33

Saving Your Settings

44

Configuring Audio Sub Group Masters

50

Creating Stereo Channels or Masters

54

Routing Masters to Output Destinations

55

Using Auxiliary Sends

57

Creating a Mix Minus (N-1)

58

Using VCA Grouping

62

Applying Signal Processing

64

Assigning the Fader Strip Free Controls

72

CHAPTER 2: CHANNEL CONTROL CONTROL

73

Introduction mc²66

73 V1.8/0

Table of Contents The Channel Display

74

Source Routing

76

Bus Routing

76

The Central Control Section

86

Mono Channel Operation

90

Stereo Channels

126

The Channel Fader Strip

131

Copying Channel Parameters

150

Resetting Channel Parameters

156

Metering

158

CHAPTER CONFIGURATION CHAPTER 3: CONSOLE CONFIGURATION

162

Introduction

162

Signal Flow Concepts

162

Channel Signal Flow

163

DSP Configurations

173

Control Surface Configuration

178

Banks and Layers

178

Isolating Fader Bays

184

Assigning Channels to Fader Strips

192

General Purpose Channels (GPCs)

201

Multitrack Recording and Monitor Channels

202

CHAPTER 4: THE CENTRE CENTRE SECTION

205

Introduction

205

Control Room Monitoring

206

Control Room Monitor 1 (CRM1)

206

Control Room Monitor 2 (CRM 2)

213

AFL and PFL Monitoring

214

Main Fader Strips

216

VCA Grouping

221

Links

224

User Panel

226

Channel Display Views

226

Fader Control of Levels

227

Strip Control

230

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Table of Contents CHAPTER 5: CONSOLE RESET RESET

232

Introduction

232

Data Storage Structure

233

Productions

236

Folders

249

Snapshots

253

File Import/Export

266

Sequences

282

The Sequence Display

284

Running a Sequence

298

The Edit Sequence Display

305

Snapshot Cross Fade (X-Fade)

311

CHAPTER 6: TIMECODE AUTOMATION

320

Introduction

320

Before You Mix

321

Turning On the Automation

326

Saving Your Mix Data

332

Updating Fader Moves

333

Writing Automation on Controls and Switches

336

Automation Modes

345

Step In/ Step Out Functions

354

Protecting Automation Data

362

Recalling a Snapshot or Sequence

367

Mixes and Passes

368

Front Panel Control Summary

382

CHAPTER 7: SIGNAL ROUTING ROUTING

385

Introduction

385

The Signals Display

386

The Signal Settings Display

403

CHAPTER CHAPTER 8: SYSTEM CONFIGURATION CONFIGURATION

414

Introduction

414

Hardware Overview

415

The System Display

418

Global Options

419

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Table of Contents Console Options

422

Level Options

425

Bar graph Options

429

Solo Button Options

432

AFL Options

433

PFL Options

434

Solo-in-Place Options

436

GUI Options

437

Custom Options

437

Wordclock Options

438

Timecode/Frame Rate Options

441

Fader/Joystick Options

442

X-Fade Options

446

The States Display

447

System Shutdown and Restart

449

APPENDICES

454

Appendix A: Surround Levels

454

Appendix B: Digital Output Settings

455

TECHNICAL DATA

456

Control Panel

456

Signal processing

456

Routing Matrix

456

Interfaces

456

Synchronisation

456

Redundancies

457

Control

457

External control systems

457

Remote Maintenance

457

INDEX DIRECTORY

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About This Manual

About This Manual How to Use This Manual Before we guide you through the operation of the mc266 broadcast production console, first a few words about this manual. Chapter 1 provides a step-by-step tutorial to common console operations. If you are new to the console, please read this chapter first. Chapters 2 to 8 cover each area of operation in greater detail. Use the Table of Contents at the beginning of the manual or Index Directory (Page 457) to locate help on a particular topic. Appendices, Technical data, a Glossary of terms and the Index Directory are provided at the end of the manual. You find installation and service information for the mc266 in the “mc266 Technical Manual”. You can also access more information by registering on the Lawo linc server at http://linc.lawo.de. By registering you will be kept up to date with the latest news and releases for your product. You can also download software updates and documentation.

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About This Manual

Conventions Throughout this manual we will be using a number of conventions:

Topics Every new topic or subtopic is clearly identified in large, bold font. Specific procedures are written as a sequence of numbered instructions which guide you through the task. The result of the operation is written in italic letters giving you the chance to identify errors at an early stage. For example: 1. To make the route press the CONN (Connection) soft key located above the trackball.

The Signals display updates with a green line showing the route between your source and destination.

Marginal notes The following marginal symbols are used to draw your attention to: User Tips – useful tips and short cuts. Notes - useful points or cross references which apply to an operation.

Warning Warnings – alert you when an action should always be observed.

Action Buttons We will also be using some conventions to help distinguish explanatory text from the text referring to items on the console: Silk screened text on the console’s front panel is referred to in UPPERCASE and button cap engravings are written in bold – for example, press the INPUT button located on the ACCESS CHANNEL/ASSIGN control panel in the centre section of the console. On-screen buttons which action a function and descriptive text on the console displays are both referred to in bold. For these, you will be advised when an on-screen button actions a function – for example, select the Mix minus box to choose a mix-minus auxiliary.

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Chapter 1: Tutorial Welcome

Chapter 1: Tutorial Welcome Welcome to the mc266 Broadcast Production Console, Lawo’s purpose designed solution for on-air and live-to-disk broadcast operations. The mc266 is a very flexible mixing console with the power to deal with a range of production types. This tutorial guides you step-by-step through some of the principal console operations. Each topic is given a reference to more detailed information in the chapters to follow.

Control Surface Overview The mc266 66’s control surface is constructed in 8-fader sections, with typical sizes scaling from 16 channel faders + 8 masters up to 48 channel faders + 8 masters. Within each channel section, you will find 8 dedicated fader strips providing basic channel controls, such as level, mute and monitoring. Four assignable rotary controllers (free controls) offer additional local channel control. A fifth upper controller is dedicated for input gain. In addition, every 8-fader channel section houses a high resolution TFT display providing feedback on channel metering and bus assignments. Any DSP channel may be accessed from the Central Control Section offering direct control of all settings – input control, signal processing, panning, level, AFL/PFL and auxiliary sends. The Main display works in parallel with these controls providing clear visual feedback on the channel’s settings as you adjust them. Below the Central Control Section you will find eight additional main fader strips for dedicated masters. On the right hand side of the centre section are the automation and snapshot/sequence controls; the monitoring control panels; the user panel which may house functions such as communications, machine control, etc.; and the ACCESS CHANNEL/ASSIGN control panel for bus and fader strip assignment, layering access, joystick and centre screen navigation.

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Chapter 1: Tutorial System Overview

System Overview Unlike an analogue console, the mc266 system consists of much more than just the control surface. For any single installation, there are three principal components: •

Console control surface - including the integrated control system.

•

HD Core – DSP and routing matrix core.

•

DALLIS I/O interfaces – offering a range of input and output cards which may be connected remotely to the system (up to 2km from the core using multimode fibre or 8km using single mode fibre).

The exact hardware specification of your system will define how many analogue and digital connections are available for external equipment, and how much DSP processing is available for input channels, monitor return channels, groups, sums (main mix outputs) and auxiliary sends. In addition, a number of other hardware options are available:

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•

Networking of I/O Resources - two or more mc266 consoles may be networked to share I/O resources. For example, to share the same microphone sources between two consoles. See Page 398 for details.

•

A second external GUI display, independent of the Central Control Section may provide dedicated access to metering, channel Information or sequence operation displays.

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Chapter 1: Tutorial Signal Flow

Signal Flow The mc266 provides the flexibility to configure as many input channels, monitor return channels, groups, sums (main mix outputs) and auxiliary sends as the production requires. In addition, these resources can be allocated full signal processing or reduced signal processing enabling you to assign EQ, Dynamics, etc. to both inputs and outputs such as groups, sums and auxiliary sends. For any given hardware specification, you may choose from a variety of DSP configurations designed to meet a variety of onair, recording and post production needs. Configurations may be changed at any time, making it easy to modify the mix structure if you decide, for example, that the production requires some additional groups. The choice of DSP configuration is stored and recalled in the console production, independently of snapshots. This allows you to use snapshots to recall settings while on-air without re-configuring DSP resources. The number of full and reduced processing channels, and their configuration, is determined by three factors – the hardware specification of the console, the choice of sampling rate and your choice of DSP configuration. For more details on DSP configurations, please refer to Page 171. INMIX

DELAY

DIGIAMP

FILTER

EQ

IMAGE

INSERT

DYN DIROUT FADER 32AUX BUS

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Chapter 1: Tutorial The Power of Layering

The Power of Layering The console’s control surface includes both channel and main fader strips. Any fader strip may control any type of channel input, monitor return, group, sum, auxiliary or VCA master – allowing you to lay out your source channels and output masters where you want them. In addition, the physical size of the control surface does not need to restrict the number of processing channels available. Regardless of the size of the control surface, the number of audio processing channels may be scaled by fitting more DSP cards within the HD core. The extra channels are then accessed by paging the console’s fader strips using banks and layers: Up to six control surface banks may be configured; think of each fader bank like a separate console, with fast global switching between banks. They may be used to access different sets of music channels during a live entertainment show or to separate different location sources during a sports production. Within each of the six banks, each fader strip has two layers – Layer 1 and Layer 2. Layers can be switched either globally or individually, making them ideal for fast access to related sources. For example, assign your input channels to Layer 1 and monitor return channels to Layer 2. For more details on Banks and Layers, see Page 178. To simplify the console’s bank and layer switching, you may choose to isolate individual fader strips so that they never switch bank or layer. For example, to keep presenter’s microphones on the surface at all times while other sources, such as audience microphones, remain hidden from view until required. The console also supports multiple user operation. For example, one engineer mixes the national broadcast sound and a second engineer mixes the international sound from the same console. In this situation, the international sound engineer may operate any number of isolated 8-fader bays with independent bank/layer switching, AFL/PFL monitoring and DSP parameter control from the main console. For more details on isolating fader strips and bays, see Pages 182 and 184. In addition to controlling onboard DSP, fader strips may be assigned to General Purpose Channels (GPCs), allowing control of parameters within external devices via MIDI. For example, to control camera microphone levels using a MIDI to VCA converter or to control faders and other parameters within an external DAW. For more details on GPCs, see Page 201.

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Chapter 1: Tutorial Integrated Digital Routing Matrix

Integrated Digital Routing Matrix In addition to powerful mixing features, the console includes an integrated digital routing matrix:

Any source may be routed to any channel, and any output mix routed to any destination. In addition, you may route sources directly to destinations, for example to feed a Mic/Line input to an AES output for archive recording purposes. Multiple consoles may also be networked in order to share I/O resources. For example, to share the same microphone input between two consoles. See Page 398 for details on networking I/O resources. Perhaps the most important feature of the routing matrix is that all routes may be stored and recalled from a snapshot, reducing the amount of manual patching within the installation and saving hours of set up time! For more details on the console’s routing capabilities, please refer to Chapter 7: Signal Routing.

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Chapter 1: Tutorial Console Reset

Console Reset One of the major benefits of the mc266 is the ability to store and recall all the settings required for a live show or type of application. Productions form the top level for user data storage and store all the settings required for a production or type of job. Productions may be recalled at any time, reducing the amount of setup time required before repeat or similar shows. Productions store low level settings, such as the DSP configuration, SRC settings, System display options and Metering display setup, in addition to snapshots, sequences and automation mixes. Within each production, folders are created to store snapshots and sequences:

Snapshots provide the ability to store different mixes/setups for recall before or during the show. For example, you may use snapshots to recall a different mix for each band appearing in a live entertainment show. Or, snapshots may be used to recall scene changes during a live theatre production. To manage snapshot recall, snapshot isolate and filtering may be applied to protect channels or elements of the desk. Sequences are provided for convenient recall of snapshots during a live broadcast or theatre production. A sequence is a list of snapshots which can be loaded in sequence during a live show. The transition between snapshots in a sequence can also be cross faded if required. Note that the sequence itself does not store any settings, but simply creates a list of pointers to snapshots stored within the production folder. Productions, snapshots and mixes are stored on the console’s internal user data flashcard and may be exported to USB interface or network drive for transfer to other systems. For more details please see Chapter 5. 14/ 14/ 474

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Chapter 1: Tutorial Timecode Automation

Timecode Automation Automation 66’s automation system provides the ability to automate The mc266 console settings referenced to timecode. Note that in addition to providing automation of channel parameters such as faders, mutes, aux sends, EQ, etc., the system allows you to automate other settings such as bus routing, channel signal flow, etc. Also note that the channels you automate may be any type of channel – inputs, groups, sums, auxes, VCA masters, GPCs, etc. Automation data can be written with timecode rolling forwards, backwards and at any speed, providing fast and efficient mixing. The way in which data is written is governed by a number of modes, allowing you to write dynamic or static automation; step in or step out of write to make updates; protect channels to prevent overwriting existing moves; and isolate channels to remove them from the automation system completely. Each stream of automation data is recorded as a ‘Pass’, and multiple passes are stored within a ‘Mix’. The ‘Pass Tree’ shows the history of the mix and enables you to A/B between different passes:

Multiple mixes may be created for each production and are stored permanently on the system when you update the production. For more details on timecode automation, please see Chapter 6.

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Chapter 1: Tutorial ACCESS CHANNEL/ASSIGN and SCREEN CONTROL

ACCESS CHANNEL/ASSIGN CHANNEL/ASSIGN and SCREEN CONTROL Located in the centre section of the console are two very important control areas used throughout the operation of the console:

•

The ACCESS CHANNEL/ASSIGN control panel is used for a variety of tasks including Central Control Section, bus and fader strip assignments. In each case, the philosophy of operation is to place a channel ‘in access’ and then assign it directly to a destination. This provides fast configuration of the console without navigating through screen-based displays.

•

The SCREEN CONTROL panel interacts with the centre control screen and is used for a variety of screen based tasks. In each case, you ‘focus’ on an area of the display, and then perform operations from the four soft keys located above the trackball.

Let’s look at each of these areas in a little more detail.

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Chapter 1: Tutorial ACCESS CHANNEL/ASSIGN and SCREEN CONTROL

The ACCESS CHANNEL/ASSIGN control panel The ACCESS CHANNEL/ASSIGN control panel is located in the centre section of the console beneath the BANK and LAYER switching buttons:

The panel consists of: •

Ten channel type selection buttons – INPUT, INPUT MON, MON AUX, AUX GPC, GPC GROUP, GROUP TRK, TRK SUM, SUM MAIN FADER, FADER STRIP and VCA. VCA

•

Two 8-character CHANNEL and LABEL displays.

•

The numeric keypad.

•

The ASSIGN button – changes the operation of the panel from access to assign, see page 81 for details.

•

The ESC button which can be used to exit any operation.

•

Navigation buttons – LEFT, LEFT RIGHT, RIGHT NEXT and PREV. PREV

•

The Enter button –

Note that the ACCESS CHANNEL/ASSIGN panel is always active, and normally, with ASSIGN deselected, selects the channel in access. The channel in access is always the channel assigned to the Central Control Section; its name and label are shown in the CHANNEL and LABEL displays, and in the top left hand corner of the Central Control Screen throughout all displays.

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Chapter 1: Tutorial ACCESS CHANNEL/ASSIGN and SCREEN CONTROL There are three ways in which you can modify the channel in access providing that the LOCK ACC (lock access) button is not selected: 1. Press the SEL button on a channel or main fader strip. This is the simplest method for accessing channels on the active control surface. However, there are times when you will wish to access channels on an underneath bank or layer of fader strips. In these cases, you may use either method 2 or 3 as follows: 2. Select the channel type and number using the channel type selection buttons and numeric keypad: •

Select a channel type by pressing one of the following: o

INPUT INPUT – Input channels (up to 384).

o

MON – Monitor channels (up to 96).

o

AUX – Auxiliary masters (up to 32).

o

GPC – General Purpose Channels (up to 256).

o

GROUP – Group masters (up to 48).

o

TRK – Track busses (up to 96).

o

SUM – Sum masters (up to 48).

o

VCA – VCA masters (up to 16).

o

MAIN FADER – selects the channel type as assigned to one of the 8 main fader strips.

o

STRIP – selects the channel type as assigned to one of the channel fader strips.

The channel type button flashes and buttons on the numeric keypad illuminate; the flashing TYPE NUM message is guiding you to enter a number. •

Enter the channel number by pressing a number on the numeric keypad followed by the Enter button. For example, press 1, 2 and Enter to enter the number twelve.

•

Alternatively, enter a three digit number. For example, pressing 0, 1, and 2 will also enter the number twelve.

Having entered a valid number, the channel type button stops flashing and the displays update to show the name and label for the selected channel. If you try and enter an invalid selection, for example GRP 897, the CHANNEL display tells you by flashing the letters NOTAVAIL for ‘Not Available’. Press the ESC button to exit the operation, and start again.

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Chapter 1: Tutorial ACCESS CHANNEL/ASSIGN and SCREEN CONTROL 3. The third method of changing the channel in access is to increment or decrement the current channel number: •

Press the NEXT or PREV buttons to increment or decrement the channel number by DSP type. For example, to scroll up or down through Input channels 1-192, Monitor channels 1-96, Groups 1-48, Sums 1-48, Auxes 1-32, VCA Masters 1-16 and General Purpose Channels (GPCs) 1-256:

•

Alternatively, press the LEFT or RIGHT buttons to assign the next channel as assigned to the console control surface. For example, if Input channel 8 is currently in access and assigned to channel fader strip 8, pressing the LEFT button selects the DSP channel assigned to fader strip 7.

The name and label for your selected channel are shown in the CHANNEL and LABEL displays. Note that the channel in access may be locked by pressing the LOCK ACC button:

For example, you may wish to lock INPUT 24 into access so that it remains accessible from the Central Control Section at all times during the production. Remember that updating the channel in access is how you assign a channel to the Central Control Section. In addition, you update the channel in access to perform an operation such as assigning a channel to a fader strip or routing a channel to a bus. We’ll cover these operations later in this tutorial, but first let’s look at screen display navigation.

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Chapter 1: Tutorial ACCESS CHANNEL/ASSIGN and SCREEN CONTROL

SCREEN CONTROL The SCREEN CONTROL panel is located in the centre section of the console beneath the joystick, and works in conjunction with the centre control screen and keyboard, located in the console arm rest or connected to the keyboard USB port, to provide screen-based control for a variety of functions. The panel consists of: •

Two rows of display selection buttons – SIGNAL, SIGNAL MATRIX, MATRIX BUS S, DSP CONFIG, BU CONFIG CHAN/CONFIG, CHAN/CONFIG SNAP/SEQUENCE SNAP/SEQUENCE, /SEQUENCE METER, METER SYSTEM/STATES and AUTO. AUTO

•

Rotary control – used for scrolling selections within certain displays.

•

The ESC button.

•

The Left/DEC, Right/INC, Up, Down and Enter navigation buttons.

•

Four soft keys, each with its own alphanumeric display.

•

Page, to switch soft key functions

•

The trackball with left and right (blank) select buttons:

One of the displays is always active on the central control screen, and some buttons such as SIGNAL cycle through multiple pages. For clear feedback of information, there are no pop-ups or windows – every display stands alone with clearly defined control areas. At the top of every display is a title bar containing some common elements:

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•

The name and label of the channel in access (e.g. IN13).

•

The number of pages available from the SCREEN CONTROL button, and the current selection – for example, 1 of 2.

•

The local time – for example, 15: 15:30: 30:35 – or timecode.

•

The title of the display – for example, Signals. Signals

•

The name of the active production – for example, Boxing 2005 - and the current snapshot if one has been loaded.

•

If applicable, a red hazard warning flag - see Page 440 for details.

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Chapter 1: Tutorial ACCESS ACCESS CHANNEL/ASSIGN and SCREEN CONTROL The SCREEN CONTROL buttons provide access to a number of displays. Some displays feature more than one page; keep pressing the SCREEN CONTROL button to cycle through the pages: 1. Press SIGNAL to access: •

Signals - controls signal routing (see Page 386).

•

Settings - adjusts I/O parameters (see Page 398). 2. The MATRIX implementation.

button

is

reserved

for

future

Assignments for a channel (see 3. Press BUS to view the Bus Assignments Page 84). 4. Press DSP CONFIG to view or change the DSP Configuration (see Page 171). Config 5. Press CHAN CHAN//CONFIG to access: •

The Main display shows channel settings for the channel in access (see Page 88).

•

Channel Config - sets the channel signal flow (see Page 165). 6. Press SNAP SNAP/SEQ /SEQUENCE /SEQUENCE to access:

•

Snapshots - loads, saves and manages console snapshots (see Page 253)

•

Sequence – used to create and run real time sequence automation (see Page 283).

•

Edit Sequence – offline editing of sequences (see Page 305). 7. Press METER to cycle through four pages of assignable meters (see Page 159). 8. Press PROD FILE to to access:

•

Production - manage the console’s productions (see Page 236).

•

File – import or export productions to/from USB or a network server (see Page 266). 9. Press SYSTEM/STATES to access:

•

System - sets console options (see Page 415).

•

States - provides graphical feedback on the hardware status of the system (see Page 440).

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Chapter 1: Tutorial ACCESS CHANNEL/ASSIGN and SCREEN CONTROL 10.

Press AUTO to access:

•

Mixes – lists the automation mixes in the production (see Page 369).

•

Pass Tree – for managing passes of timecode automation (see Page 374).

To page between multiple displays quickly, use the trackball and select button to click directly on the page number in the title bar at the top of each display (e.g. 1, 2, 3, etc.). The area below the title bar contains the main information for the display and follows a number of conventions:

•

The area of the display outlined by the dotted black and white line is ‘in focus’. By focussing on different sections of the display, you can change the soft key functions, located above the trackball, in order to perform different operations.

•

Text within grey boxes may be selected to provide further options – for example, selecting Digital updates the Subdirectories Subdirectories list on the above display.

•

Selected boxes are highlighted in black.

Text or graphics shown within dark grey areas on the display are for information purposes only.

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Chapter 1: Tutorial ACCESS CHANNEL/ASSIGN CHANNEL/ASSIGN and SCREEN CONTROL To make a selection on a display, you may use the trackball, navigation buttons or rotary scroller: 1. To use the trackball, position the cursor above the box you wish to select, and then press either the left or the right select button beneath the trackball:

The display entry, for example AES3_001 AES3_001, highlights in black and is ready for the next operation. 2. Alternatively, use the navigation buttons as follows: •

Press the DEC/Left DEC or INC/Right INC buttons to focus on an area of the display, for example Source Name and Label Label: bel

The focussed area is shown by the dotted black and white outline. Note that the INC/Right INC button cycles around the display in a clockwise manner, and the DEC/Left button navigates in an antiDEC clockwise manner. •

Now press the up or down arrow buttons to select entries within the focussed area.

•

Or, turn the rotary control to scroll through the entries within the focussed area.

The display entry highlights in black and is ready for the next operation.

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Chapter 1: Tutorial ACCESS CHANNEL/ASSIGN and SCREEN CONTROL Having selected an entry on the display, the four soft keys above the trackball are used to action operations. Note that their functions vary depending on the display selection. For example: 1. Select the Snapshots SNAP/SEQUENCE button.

display

by

pressing

the

The soft keys update to provide LOAD, LOAD SAVE and UPDT functions as indicated in the alphanumeric displays. 2. Select the Signals display, by pressing the SIGNAL button.

The soft keys update to provide CONN and DCON functions. 3. And so on for the remaining centre screen displays. 4. Press the PAGE button to page the four soft keys to a second level of functions.

Not all displays require second level functionality, and you will be advised when to use the PAGE button. We will cover more details on specific display operations as we work through this tutorial.

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Chapter 1: Tutorial The Console Keyboard

The Console Keyboard The keyboard is used for naming display entries, such as a console snapshot. You may disable the keyboard to avoid accidental mistakes. To disable, and re-enable, the keyboard, press and hold Fn and then press ON. ON When the keyboard is disabled, you will see ‘kbd locked’ at the top of the Central Control Screen display:

You may also connect an external keyboard using the USB ports in the front arm rest of the console.

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Chapter 1: Tutorial The Console Keyboard To use the keyboard to enter names, let’s take an example: 1. Press the SCREEN CONTROL SNAP/SEQUENCE button to view the Snapshots display and, using either the trackball or navigation buttons, select a snapshot to rename.

The snapshot name is highlighted in black:

2. Select the PAGE button, located in the middle of the SCREEN CONTROL soft keys.

The four soft keys update to EDIT, EDIT DEL and PROT. PROT 3. To rename the snapshot, press EDIT EDIT.

A green cursor appears highlighting the first letter of the existing name, in this case the letter s. 4. Edit the name by typing a new name on the keyboard. As you type, you overwrite the existing name. Therefore, rather than deleting existing characters, type your new name and press the space bar to remove any remaining characters from the name. 5. When you have finished, press the Enter button on the keyboard to confirm the new name. 6. If you make a mistake or want to exit the naming mode, press the Esc button on the keyboard or deselect the EDIT button.

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Chapter 1: Tutorial Getting Started

Getting Started 66, let’s Having covered some of the concepts behind the mc266 look at how to get started on the console. We are assuming that your console is fully commissioned such that all of the basic configuration tasks are complete. Your console should also contain a generic setup production which will provide an excellent starting point for new templates you wish to create.

Switching on the Power The mc266 consists of three principal system components: •

Console surface with integrated control system.

•

HD Core - DSP and routing matrix core.

•

DALLIS I/O interfaces, which may be connected remotely to the system.

The components may be powered in any order, including the option to power the console (including the control system) before I/O interfaces if desired. This enables you to begin setting up the console before remote I/O interfaces have received power. From power on, the console’s control system boots in a few seconds; during this time the centre control screen reports back on the boot-up progress.

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Chapter 1: Tutorial Getting Started At the end of boot-up, the control system automatically loads the following: •

Configuration data – these are fixed settings specific to the console. For example, the programming of the CRM 1 and CRM 2 monitor selector panels.

•

Warm start data data – the complete status of the console as stored when the system was last shut down.

Depending on who was last using the console, you may be sat in front of a fully configured control surface with DSP settings or a series of blank fader strips! In either case, the fastest way to reset the console is to load a production. For more details on system shutdown and warm start data, see Page 449.

Loading a Setup Production Productions form the top level for user data storage and store all the settings required for a production or type of job. Depending on the installation, you may have a number of setup productions or only one. Each should be clearly labelled – for example, TV1 Setup Setup. All setup productions should always be protected and only be modified by an authorised member of staff as they provide a common starting point for all users. Use the production to load a starting point; then save a new production to store your own settings. Settings will vary from console to console, but generally a setup production should reset the following console elements:

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•

DSP configuration to a working default.

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Input and Output sample rate converter settings to match installed equipment.

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System page options to a working default.

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Metering page setup to a working default.

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The assignment of channels to fader strips to a working default.

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DSP settings to flat.

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Basic signal routing and user labels – for example, routing to output distribution, monitoring and external metering.

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Chapter 1: Tutorial Getting Started To load a production: 1. Press the PROD FILE button, located on the SCREEN CONTROL panel in the centre section of the console.

The Production display appears on the centre control screen:

Note that each time you press the PROD FILE button you toggle between two pages – Production and File. File The current page is always highlighted at the top of the display – in our example, page 1 of 2. The Production display is divided into two main areas: at the top of the display you will see the name of the Active production; in the lower part of the display are listed all the productions stored on the internal user data flash card. 2. Select the production you wish to load from the lower part of the display using the trackball or navigation controls, for example Olympic Games 2004. 2004

The selected production is highlighted in black. 3. Press the LOAD soft key, above the trackball, to complete the operation.

The console status will update, and the display now shows that Olympic Games 2004 is the Active production. For additional confirmation, watch the top of the display and you will see a red loading… message indicating that production data is being loaded.

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Chapter 1: Tutorial Getting Started

Interrogating the Channel Fader Strips Depending on the settings within the setup production, you may now be able to open the faders and monitor audio! Don’t worry if this is not the case as we will look at how to modify the configuration shortly. You can interrogate which channels have been assigned to the control surface, their input metering and current bus assignments by looking at the Channel displays across the console. Note that the bottom of the Channel display tells you which channels you are controlling from each fader strip: •

The two grey boxes display the fixed system names for the DSP channels assigned to the 1st and 2nd layer fader strips. In our example, input channel 1 is assigned to the active layer (INP INP1 INP1) with nothing assigned to the alternate layer.

•

The two black boxes display the programmable user labels for these channels. In our example, INP 1. 1 Your console will display the user labels which were loaded from the setup snapshot.

For more details on names and labels, please refer to Page 395.

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Switching Banks and Layers To interrogate alternate fader banks: 1. Locate the six BANK access buttons, numbered 1 to 6 above the ACCESS CHANNEL/ASSIGN control panel in the centre section.

One of these buttons will be illuminated; this is your active fader bank. 2. Press any numbered button to switch to a new bank of channel and main fader strips.

As you do this, all fader labels, control positions and Channel displays update across the console to reflect the new settings. If there are no channels assigned to the bank, then you will switch to a series of blank fader strips. To switch between layers within a bank: 3. Press the 2ND button located on the fader strip to switch an individual strip.

The fader’s label, control positions and Channel display update to reflect the settings for the second layer. If there is nothing assigned to this layer, then you will switch to a blank fader strip.

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Chapter 1: Tutorial Getting Started 4. Alternatively, locate the four LAYER access buttons above the ACCESS CHANNEL/ASSIGN control panel in the centre section.

5. Press the FLIP button to invert the layer for all fader strips - channel and main.

This inverts the current layer selections allowing you to view all ‘hidden’ channels on the alternate layer with one button push. 6. Press the ALL 1ST button to reset all fader strips - channel and main - to Layer 1. 7. Press STRP 2ND to switch the channel fader strips to Layer 2. 8. Press the MAIN 2nd button to switch the eight main fader strips to their second layer.

When you deselect any of these three buttons, the console reverts to its previous layer status. Press and hold the ALL 1ST, 1ST STRP 2ND or MAIN 2nd buttons for more than 3 seconds to reset the layer status to all 1st or all 2nd. You may also switch banks and layers locally, eight faders at a time. In addition, you may choose to isolate individual fader strips from the bank switching, or isolate a complete 8-fader bay if you are working with a second engineer. For more details on banks and layers, please refer to Page 178.

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Chapter 1: Tutorial Creating Your Own Configuration

Creating Your Own Configuration Having loaded a setup production, you will want to modify the configuration to suit your particular show or mix. You can perform these operations in any order, but the most efficient way is as follows: •

Select the DSP configuration – this sets the number of input channels, monitor channels, groups, sums, auxes, etc, for the production.

•

Set up your signal user labels and routing – by routing sources to channels before you lay out the control surface, you can make decisions such as which input channels, groups, sums, need to be mono, stereo or surround.

•

Assign your channels to the fader strips – design your console layout by assigning your input channels, groups, sums, etc. where you want them.

For the purposes of this tutorial, we are going to assume that you have a DSP configuration with some input channels, groups, sums and auxes. For more details on DSP configurations, see Page 171. We are also going to assign our channels to the control surface before making any routes so that you can see audio appear as it is routed.

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Chapter 1: Tutorial Creating Your Own Configuration

Assigning Channels to Fader Strips Let’s take an example where we wish to assign input channels 1 to 24 across fader strips 1 to 24, and assign them to a single sum master channel controlled from main fader strip 8. If you want to clear down the fader strip assignments loaded from the setup production to start from a series of blank fader strips, use the CLEAR BANK function as described on Page 198. To assign the sum master channel (SUM 1) to main fader strip 8: 1. Select SUM 1 from the ACCESS CHANNEL/ASSIGN control panel, by pressing SUM, SUM the number 1 and the Enter button.

This puts SUM 1 into access; the CHANNEL and LABEL displays show the name and label for sum master channel 1. 2. Now press the global ASSIGN button, located on the STRIP ASSIGNMENT: ASSIGN MODES panel:

The ASSIGN button flashes, and across the console the fader SEL buttons flash, in green, to indicate possible destinations for your selected channel:

3. Press the fader SEL button on main fader strip 8 to complete the assignment.

The fader SEL button stops flashing and changes colour, from green to red, to indicate the assignment. In addition, the Fader Label display updates to show the new system name for the fader strip - SUM 1. 1

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Chapter 1: Tutorial Creating Your Own Configuration With the ASSIGN mode still active, now assign input channels 124 onto the control surface: 1. Select INP 1 from the ACCESS CHANNEL/ASSIGN control panel by pressing INPUT, INPUT the number 1 and the Enter button.

This puts input channel 1 into access; the CHANNEL and LABEL displays show the name and label for input channel 1. 2. Select the FIRST LAST button, located on the STRIP ASSIGNMENT: ASSIGN MODES panel:

3. Press the fader SEL button on channel fader strip 1 followed by the fader SEL button on channel fader strip 24.

The console incrementally assigns input channels 1 to 24 from the first selection (channel fader strip 1) to the last selection (channel fader strip 24). 4. Deselect the global ASSIGN button or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit the assign mode For more details on fader strip assignment, please refer to Page 192.

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Chapter 1: Tutorial Creating Your Own Configuration

Source Routing Now let’s route a new audio source, for example a CD player, into input channels 23 and 24. 1. Press the SIGNAL button, located on the SCREEN CONTROL panel, to view the Signals Signal display:

Note that each time you press the SIGNAL button you toggle between two pages – Signals and Settings. Settings The current page is always highlighted at the top of the display – in our example, page 1 of 2. In our example, the CD player is connected to AES inputs 01 and 02. 2. Using the trackball or navigation buttons, select the source directory (e.g. Digital) Digital and sub-directory (e.g. HD AES AES IN 11-24) 24 on the left of the display.

Your selections are highlighted in black and the Source Name and Label columns update to show all available sources. 3. Now select either the Name or Label for the source you wish to route (e.g. HD AES AES3 ES301). 01

Your selected source is highlighted in black.

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Chapter 1: Tutorial Creating Your Own Configuration 4. Next, select the destination in a similar fashion. For example, select Inputs/Mon as your directory, INP 11-24 as the sub-directory followed by INP23 INP23 from the Name and Label list.

Your selected destination is highlighted in black. Note that for input channels, you have a choice of whether to assign sources to the A or B inputs. For now, assign your sources to input A (e.g. INP23 A). A The B input is provided so that you can assign a back up source. You may then switch quickly from source A to B during a show if the main input (e.g. the presenter’s wireless mic) fails! 5. To make the route press the CONN (Connection) soft key located above the trackball.

The Signals display updates with a green line showing the route between AES301 AES301 and INP23. NP23 Look at fader strip 23 on the control surface; the fader strip and Channel display name and labels update and hopefully you are metering some audio:

Note that if the INHERIT button is active, see Page 231, the labels show the name of the source (e.g. MIC1) MIC1 rather than the name of the DSP channel (INP1 INP1). INP1 6. Repeat steps 3 to 5 to route the right hand side of the CD player (AES AES3 INP2 AES302) to input channel 24 (INP INP24). For more details on signal routing, please refer to Page 386.

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Chapter 1: Tutorial Creating Your Own Configuration

Bus Assignments Assignments Next we need to assign input channels 23 and 24 onto our main output (SUM 1). We may use either forward or reverse bus assign to perform this operation; let’s use reverse bus assign: 1. First select the destination (Sum 1) by pressing the SEL button on the main fader strip controlling SUM 1 – main fader strip eight:

This puts SUM 1 into access as indicated on the ACCESS CHANNEL/ASSIGN control panel’s displays. 2. Now press the INPUT button, located on the BUS ASSIGNMENT: REVERSE panel.

The INPUT button flashes, and across the console the fader SEL buttons on fader strips which are controlling input channels (INP 1-24) flash, in green, to indicate possible sources for the chosen destination:

3. Press the fader SEL buttons on the fader strips controlling IN23 and IN24 to complete the assignment.

The fader SEL buttons stop flashing and change colour from green to red to indicate that the channels are assigned to the selected destination. Note also that the Channel display above fader strips 23 and 24 shows the bus assignments onto sum 1. 4. Deselect the INPUT button or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit the assign mode. For more details on bus assignments, please refer to Page 76.

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Control Room Monitoring The final step before we can hear our audio is to look at the control room monitoring. Both main and alternate monitor outputs are controlled from the CONTROL ROOM MONITORING panel:

1. Press one of the 24 pre-programmed buttons to select SUM 1 as your monitor source. 2. Use the CRM 1 rotary control to set the main monitor level. 3. Press the ALT button to switch the CRM 1 output to an alternate set of speakers. 4. To listen to the output of an external source, press a different button from the source selector panel. These buttons are programmed within the factory configuration so please refer to your console specification for full details.

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Chapter 1: Tutorial Creating Your Own Configuration

AFL & PFL Monitoring At any stage, you may listen to the output of a channel using the AFL and PFL buttons: 1. To monitor the channel post fader, press the AFL button located on the fader strip. 2. To listen to the channel pre fader, press PFL. 3. Press the CLEAR AFL/PFL button, located on the Control Room Monitoring panel, to clear all current AFL and PFL selections. Note that depending on your monitoring configuration, AFL and PFL signals may appear on the Control Room 1, Control Room 2 or external monitor speakers. In addition, you may have access to AFL to Mains and PFL to Mains switching from the 24 programmable Control Room Monitoring panel buttons. These buttons are programmed within the factory configuration so please refer to your console specification for full details. The console also supports a number of AFL and PFL options, such as whether the buttons are latching or momentary and additive or exclusive. See Page 436 for more details.

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Routing Sources to Multiple Channels Next let’s assign some microphone sources to more of our input channels. For example, mic/line sources 1-8 to input channels 18. 1. Press the SIGNAL button, located on the SCREEN CONTROL panel, to view the Signals Signal display:

2. Using the trackball or navigation buttons, select the source directory (e.g. Stagebox) Stagebox and sub-directory (e.g. Mics) Mics on the left of the display.

Your selections are highlighted in black and the Source Name and Label columns update to show all available sources. 3. Now select either the Name or Label for the first source you wish to route (e.g. Mic_06.3 Mic_06.3)

Your selected source is highlighted in black. 4. Next, select the destination in a similar fashion. For example, select Inputs/Mon as your directory, INP 11-24 as the sub-directory followed by INP1 INP1 from the Name and Label list.

Your selected destination is highlighted in black.

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Chapter 1: Tutorial Creating Your Own Configuration 5. Now press the PAGE button, located above the trackball, to access the second page of soft key functions.

The displays above the four soft keys update to show EDIT and STEP functions. 6. Press the STEP button to activate the step forward mode. 7. Now deselect PAGE and press the CONN soft key to make the first route.

The Signals display updates with a green line showing the route between Mic_06.3 Mic_06.3 and Inp 3. In addition, the source and destination selections automatically step down to the next entries in the list. 8. Continue pressing the CONN button until all eight microphone sources are connected to input channels 1 to 8.

As you step down through the list, note the red and white crosses which appear to indicate routes are made to or from sources and destinations within the list. For more details on source routing, please refer to Page 388. 9. Now repeat the reverse bus assign operation, as described on Page 38, to assign all eight input channels onto Sum 1 for monitoring.

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Controlling Microphone PrePre-amplifier Settings Each microphone pre-amplifier may be remotely controlled in order to set input gain, phantom power, etc. prior to analogueto-digital conversion. These settings may be controlled either from the fader strip or the Central Control Section. Let’s use the dedicated controls on the channel fader strip: 1. Use the GAIN control to remotely set the microphone preamplifier gain.

The gain range is normally adjusted from 0dB to 70dB, although this may vary depending on your hardware configuration. Please refer to the DALLIS I/O technical data for details. 2. Press the 48V button to select 48V phantom power. 3. Press the high pass filter button to insert an analogue subsonic filter prior to the A-D conversion. Toggle the button to cycle through the filter roll-off frequency options: Off, 40Hz, 80Hz and 140Hz.

The button changes colour to indicate the selected frequency green (40Hz); yellow (80Hz); red (140Hz). 4. Press PAD to insert the 20dB PAD. 5. Press the B button to switch to a backup source (e.g. a spare microphone) and A to return to the primary source. For more details on input control, see Page 131.

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Chapter 1: Tutorial Saving Your Settings

Saving Your Settings Console settings are saved within productions onto the internal user data flash card. Each time you update a production you store a one-shot memory of the current console status, including low level settings such as DSP configuration, and high level settings such as your mix and console layout. It is a good idea to save and organise your productions early on. Don’t overwrite your studio’s setup production with your own settings! Instead, save a new production for each of your own templates or for a particular show. Within each production, you may create folders to store snapshots or automation mixes. Snapshots store high level settings and provide the ability to store different mixes/setups within the production. For example, you may use snapshots to recall a different mix or console layout for each band appearing in a live entertainment show. Or, snapshots may be used to recall scene changes during a live theatre production. For more details on folders and snapshots, please see Chapter 5. Any production, folder, snapshot or mix, may be exported to a USB interface or network drive, allowing you to take away your settings. See Page 266 for details.

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Chapter 1: Tutorial Saving Your Settings Settings

Saving a New Production To avoid overwriting existing settings, we are going to save the current status of the console into a new production: 1. Press the PROD FILE SCREEN CONTROL button to access the Production display:

The last production loaded was Olympic Games 2004, 2004 therefore this is the Active production. 2. Using the trackball or navigation buttons focus on the list of productions in the lower part of the display.

The four soft key functions update to show LOAD, LOAD NEW and SAVE. SAVE

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Chapter 1: Tutorial Saving Your Settings 3. Press the SAVE soft key to save the current console settings into a new production:

A new entry appears in the productions list with a default name (e.g. production 0009 0009). This entry contains all the settings of the console and is time and date stamped. The new production automatically becomes the Active production as shown on the display.

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Chapter 1: Tutorial Saving Your Settings

Renaming the Production To rename the production: 1. Using the trackball or navigation buttons focus on the Active production name at the top of the display. 2. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show UPDT, UPDT PROT, PROT DEL and EDIT. EDIT 3. Press EDIT EDIT:

A green cursor appears highlighting the first letter of the existing name, in this case the letter p. 4. Edit the name by typing a new name on the keyboard. Note that as you type, you overwrite the existing name. Therefore, rather than worrying about deleting existing characters, type your new name and then press the space bar to remove any remaining characters from the name. 5. When you have finished, press the Enter button on the keyboard to confirm the new name.

This completes the naming operation. 6. If you make a mistake or want to exit the naming mode, press the Esc button on the keyboard or deselect the EDIT button.

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Chapter 1: Tutorial Saving Your Settings

Updating the Production You should save your settings regularly as you work by updating the Active production.

You will find that the UPDT PROD button on the SNAPSHOT/SEQUENCE panel acts as a reminder to help you save your settings regularly. Each time you save or update a snapshot, or create or update an automation pass, the UPDT PROD button flashes. 1. To save the new settings, press the UPDT PROD button.

The active production is overwritten with the current console settings and the button stops flashing. Note that if the production is protected you will not be able to update it; the UPDT PROD button continues to flash. Go to the Production display and unprotect the active production. Now you can use UPDT PROD to update settings while working.

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Chapter 1: Tutorial Saving Your Settings If you are viewing the Production display, then you can confirm the update by looking at the new date and time stamp:

For additional confirmation, watch the top of the production display and you will see a red saving… message indicating that the production data is being saved. Note that updating overwrites the production data. Therefore, make sure that you have selected the correct production to update. To avoid accidental updates, always protect setup or template productions, see page 241. If you do make a mistake, don’t panic! Every time a production is updated, a backup of the current console settings is created in the backup production memory. See Page 246 for more details.

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Chapter 1: Tutorial Configuring Audio Sub Group Masters

Configuring Audio Sub Group Masters So far, we’ve routed our input channels directly to a main sum output. However, for many productions, you will want to use groups either to create independent mixes, like an international version, or to provide greater control over separate elements of the mix, for example to compress all of the music channels separately to the main presenter’s microphones. The number of groups is determined by your choice of DSP configuration; note that not all DSP configurations support groups. If you are unable to assign groups to the control surface, check Page 171 for details on DSP configurations. Providing groups are available, they are assigned to the control surface in exactly the same way we assigned our input and sum channels. Repeat the fader strip assignment operation, described on Page 34, to assign GROUPS 1 to 4 onto main fader strips 1 to 4 now.

Re--assigning Channels to Groups Re At the moment we have our input channels assigned directly to the sum master (SUM 1). To modify this routing so that our microphone channels are routed via a sub group, let’s use reverse bus assign. First remove input channels 1-8 from SUM 1 as follows: 1. Select the destination (Sum 1) by pressing the SEL button on the main fader strip controlling SUM 1.

This puts SUM 1 into access as indicated on the ACCESS CHANNEL/ASSIGN control panel.

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Chapter 1: Tutorial Configuring Audio Sub Group Masters 2. Now press the FADER button, located on the BUS ASSIGNMENT: REVERSE panel.

The FADER button flashes, and across the console the fader SEL buttons flash, in green, to indicate possible sources for the chosen destination:

The SEL buttons on the first eight faders strips (INP 1 to INP 8) are illuminated in red showing that they are already assigned to the selected sum master. 3. Press the SEL buttons on the fader strips controlling INP 1 to INP 8 to undo the bus assignments.

The fader SEL buttons change colour from red to green, and the Channel display indicates the updated bus assignments. 4. With FADER still selected, now press the fader SEL buttons on the fader strips controlling GRP 1 to GRP 4 to assign the group master channels to SUM 1.

The fader SEL buttons stop flashing and change colour from green to red to indicate that the channels are assigned to the selected destination. 5. Deselect the FADER button to complete the operation.

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Chapter 1: Tutorial Configuring Audio Sub Group Masters Now, we need to assign input channels 1-8 to one of the groups – let’s use Group 1: 1. Select the destination (Group 1) by pressing the SEL button on the main fader strip controlling GRP 1.

This puts GRP 1 into access as indicated on the ACCESS CHANNEL/ASSIGN control panel’s CHANNEL and LABEL displays. 2. Now press the INPUT button, located on the BUS ASSIGNMENT: REVERSE panel.

The INPUT button flashes, and across the console the fader SEL buttons on fader strips which are controlling input channels (INP 1-24) flash, in green, to indicate possible sources for the chosen destination:

3. Press the fader SEL buttons on the fader strips controlling INP 1 to INP 8 to complete the assignment.

The fader SEL buttons stop flashing and change colour from green to red to indicate that the channels are assigned to the selected destination. Note also that the Channel display above fader strips 1 to 8 shows the bus assignments onto group 1. 4. Deselect the INPUT button or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit the bus assign mode.

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Chapter 1: Tutorial Configuring Audio Sub Group Group Masters

Monitoring the Group Output Your Control Room Monitor output should still be selected to SUM 1, so push open all the faders and you will be hearing a mix of your microphone channels (input channels 1 to 8) and the CD player (input channels 23 & 24), with the overall level of all eight microphone channels controlled by Group master 1. To monitor just the group output, you may either: 1. Press one of the pre-programmed monitor selector buttons to monitor GRP 1, if available:

2. Press the AFL button located on the fader strip controlling GRP 1 to listen to the group output post fader. 3. Press the PFL button located on the fader strip controlling GRP 1 to listen to the group output pre fader. Note that depending on your monitoring configuration, AFL and PFL signals may appear on the Control Room 1, Control Room 2 or external monitor speakers. In addition, you may have access to AFL to Mains and PFL to Mains switching from the 24 programmable Control Room Monitoring panel buttons. For more details on control room monitoring, see Page 206.

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Chapter 1: Tutorial Creating Stereo Channels or Masters

Creating Stereo Channels or Masters Up until now, we have been dealing with mono input channels, mono groups and a mono sum. However, any of theses channels may easily be changed from mono to stereo either from the Central Control Section or Signals display. For example, to change SUM 1 from mono to stereo: 1. Press the SEL button on the main fader strip controlling SUM 1 to assign it to the Central Control Section. The CHANNEL and LABEL displays update to show the system name and label for SUM 1. 2. Locate the IMAGE controls on the Central Control Section:

3. Press the STEREO button. This links SUM 1 to its adjacent DSP channel (SUM 2) to create the stereo channel. To indicate that the channel is now stereo, you have stereo metering, a STEREO LED on the fader strip, a stereo indicator on the Main display and the Image section becomes active. Note that if SUM 2 was assigned to the control surface, then the SUM 2 mono channel disappears leaving a blank fader strip. 4. Repeat steps 1 to 3 to change any of your groups or input channels from mono to stereo. For more details on stereo channel operation, please refer to Page 126.

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Chapter 1: Tutorial Routing Masters to Output Destinations

Routing Masters to Output Destinations So far we have looked at how to route sources into channels, assign channels to group and sum masters, and monitor the various paths. Next let’s look at how to assign your groups and sum output to new destinations, for example to feed a recorder or distribution chain. The operation is very similar to routing a new source to a channel, only this time we are going to select the bus master channel as our source (e.g. SUM 1) and a physical output (e.g. AES output 1) as our destination: 1. Press the SIGNAL button, located on the SCREEN CONTROL panel, to view the Signals Signal display:

2. Using the trackball or navigation buttons, select the source directory (e.g. Bus Out) Out and sub-directory (e.g. DOut Sum 11-28) 28 on the left of the display.

Your selections are highlighted in black and the Source Name and Label columns update to show all available sources. 3. Now select either the Name or Label for the source you wish to route (e.g. SUM1 SUM1).

Your selected source is highlighted in black. 4. Next, select the destination in a similar fashion. For example, select Digital as your directory; HD AES AES 11-24 as the sub-directory followed by AES3_ AES3_0 3_001 from the Name and Label list.

Your selected destination is highlighted in black.

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Chapter 1: Tutorial Routing Masters to Output Destinations 5. To make the route press the CONN (Connection) soft key located above the trackball.

The Signals display updates with a green line showing the route between SUM1 SUM1 and AES3_00 AES3_001. 6. Repeat steps 3 to 5 to route the right hand side of the stereo sum master (SUM SUM2 SUM2) to AES3_0 AES3_002. 02

The Signals display updates with a green line showing the route between SUM 2 and AES3_0 AES3_002. 02 For more details on routing, please refer to Chapter 7: Signal Routing.

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Chapter 1: Tutorial Using Auxiliary Sends

Using Auxiliary Sends Auxiliary sends may be used for a variety of applications such as cue feeds, effects sends, mix minus (N-1) sends, etc. Depending on your choice of DSP configuration, each channel may access up to 32 sends. Send controls are paged onto the eight rotary encoders within the Central Control Section. For example, to open an auxiliary send from input channel 23: 1. Press the SEL button on the fader strip controlling INP 23 to assign it to the Central Control Section.

The name and label for channel in access updates in the CHANNEL and LABEL displays, and the Central Control Section panels update to show the current settings for the sum master. 2. Locate the AUXILIARY/ AUDIO FOLLOWS VIDEO controls on the Central Control Section. 3. Press A1 G ... A8 G to assign the first eight auxiliary sends onto the rotary controls.

The names A1 G to A8 G appear in the alphanumeric displays showing which send is allocated to each control. 4. Press the ON button to activate the auxiliary send. 5. Now use the rotary control to adjust the send level.

The send level may be adjusted from -128dB to +15dB. Note that auxiliary send levels may also be controlled from faders using the FADER CONTROL feature, see page 227 for details Auxiliary masters are assigned onto fader strips in the same way we assigned the input channels, groups and sum master earlier. For more details on auxiliary send operation, see Page 111.

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Chapter 1: Tutorial Creating a Mix Minus (N(N-1)

Creating a Mix Minus (N(N-1) One of the most common functions required during a live production is the mix minus, or N-1, output. The mc266 may use any of its 32 auxiliary sends to create mix minus feeds. Let’s take an example where we wish to create separate mix minus feeds for the first four microphone inputs we assigned to fader strips 1 through 4 earlier.

Configuring the Mix Minus Auxiliary Sends The first step is to configure the auxiliary sends to be used for each mix minus feed. This is done from the signal Settings display by linking the auxiliary you wish to use to the input source. To keep things simple let’s use auxiliary sends 1 to 4 for our configuration: 1. Press the SIGNAL button, located on the SCREEN CONTROL panel, to view the Signals display. 2. Using the trackball or navigation buttons, select the directory (e.g. Stagebox), Stagebox sub-directory (e.g. Mics) Mics and the first source (e.g. MIC_06.1 MIC_06.1) you wish to assign a mix minus send:

The selected Source Name and Label are highlighted on the display.

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Chapter 1: Tutorial Creating a Mix Minus (N(N-1) 3. Now press the SCREEN CONTROL SIGNAL button again to switch to the Settings display:

Your selected source name and label (e.g. MIC_06.1) MIC_06.1 are shown in the Selection box at the top left of the display, and a list of the current destinations for this source in the Destinations list below. This display is used to configure a number of source and destination settings. We are interested in the MixMix-minus box at the bottom left of the display. 4. Select the Mix Mix--minus box, either using the trackball or navigation buttons, and use the rotary control located above the trackball to scroll through the auxiliary sends 1 to 32. For our example, select AUX 1. 1 5. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions. 6. Press the SET soft key to confirm the selection.

The name and label boxes beneath MixMix-minus update to show the name and label of the selected aux. 7. Repeat steps 1 to 6 to configure auxiliaries 2, 3 and 4 as the Mix-minus sends for mic inputs 2, 3 and 4.

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Chapter 1: Tutorial Creating a Mix Minus (N(N-1) 8. Having configured a link between the input sources and mix minus auxiliary sends, now return to the Signals display by pressing the SIGNAL button again. The next step is to route the output of the auxiliary sends to the relevant mix minus destinations. In this example, we want to route auxiliary 1, 2, 3 and 4 to the ear piece feeds for our guest channels (e.g. four Stagebox analogue outputs). 9. Using the trackball or navigation buttons, select the source directory (e.g. BUS Out), Out sub-directory (e.g. DirOut AUX X 11-16) 16 and Name or Label for the source you wish to route (e.g. AX 1): 1

Your selected source is highlighted in black. 10. Next, select the destination, for example Stagebox as your directory, Analog 2 as the sub-directory followed by ANA_13.1 from the Name and Label list.

Your selected destination is highlighted in black. 11. To make the route press the CONN (Connection) soft key located above the trackball.

The Signals display updates with a green line showing the route between AX 1 and ANA_13.1. ANA_13.1 12. Repeat steps 9 to 11 to route all four auxiliary send masters to the corresponding analogue outputs for the mix minus feeds. For more details on signal routing, please refer to Chapter 7: Signal Routing.

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Chapter 1: Tutorial Creating a Mix Minus (N(N-1)

Activating the Mix Minus Sends Having configured auxiliary sends 1, 2, 3 and 4 to provide mix minus feeds for Microphone Inputs 1 to 4: 1. Go to the fader strips controlling MIC 1 to 4 and press the CONF buttons on all four channels:

The mix minus is automatically activated for each of the four channels. 2. Depending on your talkback configuration, the TALK button on each fader strip may be used to talk to the mix minus. 3. To add channels not within the coordination group to the mix minus, press their CONF buttons. For example, you may wish to send the output of several replay machines to all the mix minus recipients.

The channels are routed onto the mix minus bus; therefore feed all mix minus sends. The CORD button changes the mix minus from an N-1 into a pre-talk auxiliary send. Use this mode to generate a conferencestyle feed for your guests and presenters. This allows members of the conference group to talk to each other pre-fader while they are off-air. However, as soon as their channel fader is opened and they are on-air, their conference auxiliary feed is muted. Note that each mix minus is linked to the input source, rather than the DSP channel. This means that if you route the input source (e.g. MIC 4) elsewhere, the mix minus controls automatically follow. For more details on mix minus and conference aux operation, see Page 114.

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Chapter 1: Tutorial Using VCA Grouping

Using VCA Grouping A common application for the eight main fader strips is to use them as VCA group masters. The console supports up to 16 dedicated VCA masters and you may assign any number of fader strips to a dedicated VCA. This provides the ability not only to control input and monitor channels but also groups, sums and auxiliary masters.

Assigning VCA Masters to the Control Surface As we have already assigned groups 1 to 4 and sum 1 onto the first layer of our eight main fader strips, let’s use the second layer to create eight VCA masters: 1. Bring the second layer of main fader strip onto the active surface, by pressing the MAIN 2ND button, located on the LAYER access panel. 2. Now select VCA master 1 from the ACCESS VCA, the CHANNEL/ASSIGN control panel, by pressing VCA number 1 and the Enter button.

The CHANNEL and LABEL displays show the name (VCA VCA 1) 1 and user label for the master. 3. Select the FIRST LAST button, located on the STRIP ASSIGNMENT: ASSIGN MODES panel.

This automatically selects the global ASSIGN button, and across the console the fader SEL buttons flash, in green, to indicate possible destinations for your selected channel. 4. Press the fader SEL button on the first main fader strip followed by fader SEL on the last main fader strip.

The console assigns VCA masters 1 to 8 to main strips 1 to 8. 5. Deselect the global ASSIGN button or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit the assign mode.

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Chapter 1: Tutorial Using VCA Grouping

Assigning Channels to a VCA VCA Master Let’s assign our CD player, on input channels 23 and 24 to VCA master 1: 1. Press the fader SEL button on the fader strip controlling VCA 1.

This puts VCA 1 into access as indicated on the ACCESS CHANNEL/ASSIGN control panel’s CHANNEL and LABEL displays. 2. Now press the VCA button, located on the BUS ASSIGNMENT panel.

The VCA button flashes to indicate that it is active, and across the console the fader SEL buttons flash, in green, to indicate possible sources for your chosen master:

3. Now press the SEL buttons on the fader strips controlling input channels 23 and 24.

The fader SEL buttons stop flashing and change colour from green to red to indicate that the channels are assigned to the selected VCA master. On each assigned channel, the VCA master number is shown in the figure of eight display. 4. Deselect VCA VCA, on the BUS ASSIGNMENT, panel or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit the VCA set up mode. For more details on VCA operation and other methods of linking fader strips please see Page 221.

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Chapter 1: Tutorial Applying Signal Processing

Applying Signal Processing Depending on your choice of DSP configuration, full signal processing may be available on your input channels, monitor return channels, groups, sums and/or auxiliary masters. This allows you to compress a group output or EQ an auxiliary master in the same way you would apply signal processing to an input channel. Please see Chapter 3 for more details on Signal Flow and DSP configurations. The following provides a step-by-step guide to some of the signal processing sections within the Central Control Section. For a full tour of the Central Control Section, see Page 86. 1. Press the SEL button on a fader strip to assign it to the Central Control Section:

The controls update to show the current settings for the assigned channel. When controlling processing, note that all rotary controls on the mc266 are touch sensitive encoders with the following features: •

The dedicated alphanumeric display shows either the parameter name or value which is being adjusted.

•

The ring of LEDs indicates the current position of the control. Note that for levels, a corona appears around the control indicating the amount of deviation from the default value.

•

The LED square beneath each control changes from green to yellow when a parameter is not set to its default value.

The controls default to provide fine parameter adjustment. For coarse adjustment (5 times faster), push down on the control as you adjust the parameter.

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Chapter 1: Tutorial Applying Signal Processing 2. If not already selected, press the CHAN/CONFIG button, located on the centre section SCREEN CONTROL panel, to view the Main display:

The Main display is divided into the same sub sections as the Central Control Section front panel. As you adjust controls, the display updates to reflect your settings. Note that the name and label for the channel you are adjusting is always shown at the top left of the display. Also note that the heading above each area of the display, for example EQ, EQ GATE, GATE etc, changes colour from grey to green when that section is switched into circuit. The Main display also includes a meter, which follows the same metering options as set for the Channel display. Please see Page 158 for more details on channel metering.

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Chapter 1: Tutorial Applying Signal Processing

Using the 44-band Equaliser

1. Locate the SCF/FILTER/EQUAIZER panel on the Central Control Section: 2. At the bottom of the panel, press the EQ DISP button to display the 4-band equaliser on the four sets of GAIN, FREQ and Q controls. 3. Turn on the master EQ ON button.

From left to right, the controls default to provide low shelf, constant Q, constant Q and high shelf equaliser bands. 4. Use the GAIN, FREQ and Q or Q/SLP rotary controls to set the gain, frequency or Q for each of the 4 bands:

Frequency may be set from 20Hz to 20kHz, and the value is shown beneath the front panel control, and in the FREQ box on the Main display. Gain may be set from -24dB to +24dB. Q may be set from 0.1 to 80dB for the Constant Q sections, and the slope of the shelving bands may be set to 6dB per octave, 12 dB per octave or 18dB per octave.

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Chapter 1: Tutorial Applying Signal Processing 5. Use any of the four OFF buttons to switch an individual band out of circuit. 6. Use the two EQ type buttons to switch between bell, shelf and pass band filters for the high and low bands, and bell, constant Q and notch for the middle bands.

The TYPE boxes on the Main display update to show the new selection.

Using the High and Low Pass Filters 1. At the bottom of the SCF/FILTER/EQUALIZER panel, press the FILTER DISP button to switch the four sets of GAIN, FREQ and Q controls to the 2-band filter section.

Controls on the left side of the panel now adjust the high pass filter, and controls on the right side adjust the low pass filter. The two bands default to provide constant Q equalisation. 2. Turn on the master FILTER ON button. 3. To change the two bands to high and low pass filters, use the EQ type buttons.

The TYPE boxes on the Main display update to show HiHi-P or Lo-P respectively. 4. Use the FREQ rotary control to set the roll-off frequency for the filter.

Frequency may be set from 20Hz to 20kHz, and the value is shown beneath the front panel control and in the FREQ box on the Main display. 5. Use the Q/SLP rotary control to set the slope of the filter.

The slope may be set to 6dB per octave, 12 dB per octave or 18dB per octave and is shown in the Q box on the Main display. 6. Press either of the two OFF buttons to switch the individual filters out of circuit. The two filter bands may be used for filtering, shelving EQ or constant Q operation by adjusting the EQ type selection buttons. You can also set each band independently. For example, to keep your high pass filter, but use the other filter band as an extra band of EQ. For more details on Equalisation and Filtering, see Page 97.

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Chapter 1: Tutorial Applying Signal Processing

Setting a Compressor Compressor The console provides four independent blocks of dynamics processing (Gate, Expander, Compressor and Limiter). Any of the four sections may be placed anywhere within the channel signal flow. For example, to gate pre EQ and compress post EQ, or to limit the channel signal post fader while compressing the feed to the direct output. In addition a dedicated 2-band filter section may be inserted into the sidechain of the gate or compressor. Let’s look at how to set a compressor: 1. Locate the COMP/LIM panel on the Central Control Section. 2. Check that the LIM button is turned off. 3. Press the ON button to switch on the Compressor. 4. Check that the 2nd button is off and use the four rotary controls to set the compressor attack time (ATT/RLS), threshold level (THRS/LAHD), ratio (RATIO/HOLD/KNEE) and output gain (GAIN). 5. Now turn on the 2nd button and use the two upper controls to set release time (ATT/RLS) and look ahead delay(THRS/LAHD).

The Main display updates to show the relevant settings The action of the compressor is best described by looking at the Compressor graph on the Main display. Note that as you adjust your settings, the bouncing ball shows the position of the signal level relative to the threshold and ratio you have set. In addition, the vertical GAIN meter displays the amount of gain reduction being applied to the signal; the two meters below the graph show input (IN IN) OUT) IN and output (OUT OUT levels to/from the section. The Compressor parameters may be set as follows: •

Threshold Level – from -40dB to +20dB.

•

Ratio – from 1:1 to 10:1.

•

Attack Time – from 0.3ms to 250ms.

•

Release Time – from 0.04secs to 10secs.

•

Look Ahead Delay – from 0ms to 10ms.

•

Gain – from -20dB to +20dB.

•

Knee – hard or soft.

For a smoother compressor, insert the 2-band sidechain filter and set -10dB gain for an 18dB/octave low shelf at around 125Hz to remove unwanted low frequencies. For full details on Dynamics operation, please refer to Page 99.

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Chapter 1: Tutorial Applying Signal Processing Processing

Inserting Channel Delay To apply delay to a channel, for example to compensate for video processing delays: 1. Locate the DAMP/DELAY/INS/DIROUT panel on the Central Control Section. 2. Press the DLY button to assign the controls to the channel delay audio module. 3. Press the ON button to switch the delay into circuit. 4. Toggle the MODE button to cycle around the channel delay unit options – milliseconds (ms), frames (frms) or meters (m).

The TIME box on the Main display updates to show your chosen units. 5. Move the rotary control to adjust the delay value.

The amount of delay is displayed in the TIME box on the Main display. Channel delay may be set from 0 to 1800ms). When adjusting delay in frames, set the frame rate using the System display, see Page 441 for details.

Inserting Inserting Outboard Processing To insert an outboard piece of equipment into the channel path, for example to apply external compression: 1. Press the INS button on the DAMP/DELAY/INS/DIROUT panel to assign the controls to the channel insert module. 2. Press the ON button to switch the insert return into circuit.

If an insert return is not assigned, you will get silence when you switch the insert into circuit. 3. With the insert ON ON, adjust the rotary control to set the level of the insert send.

The SEND level is shown on the Main display and may be adjusted from -128dB to +15dB.

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Chapter 1: Tutorial Applying Signal Processing The insert send and return assignments are made from the Signals display: 1. Press the SIGNAL button, located on the SCREEN CONTROL panel, to view the Signals Signal display.

2. Using the trackball or navigation buttons, select the source directory (e.g. Insert Send), Send sub-directory (e.g. InsSnd Inp 11-24) 24 and source (e.g. INP1i INP1i) P1i on the left of the display.

Your selected source is highlighted in black. 3. Next, select the destination in a similar fashion. For example, select Stagebox as your directory, Analog 1 as the sub-directory followed by ANA_11.7 from the Name and Label Label list.

Your selected destination is highlighted in black. 4. To make the route press the CONN (Connection) soft key located above the trackball.

The Signals display updates with a green line showing the route between the source and destination.

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Chapter 1: Tutorial Applying Signal Processing 5. Repeat steps 2 to 4 to route the line input from the compressor (e.g. ANA13.1) ANA13.1 to the insert return (INP INP1 INP1i):

The Signals display updates with a green line showing the route between the source and destination. For full details on Insert operation, please refer to Page 95.

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Chapter Chapter 1: Tutorial Assigning the Fader Strip Free Controls

Assigning the Fader Strip Free Controls On each channel fader strip are four, and on each main fader strip two, assignable Free Controls. These provide local channel access to settings such as EQ, Panning, Dynamics, Auxiliary Sends, etc. Each control is touch sensitive and when turned provides fine control. Push down and rotate the control for coarse adjustment of a parameter value. Each control also has its own dedicated 4-character alphanumeric display. The normal mode shows the parameter function (e.g. EQ1G – EQ Band 1 Gain) until the control is touched, when the display then updates to show the parameter value (e.g. +12). +12 There are three ways you may assign parameters onto the free controls, but to get you started let’s use the global FC PRESET buttons located to the left of the Central Control Section. 1. Check that the Page 2 button is turned off. 2. Press the EQ 1/FI 1 FI 1 button.

Working up the channel, the four free controls are now assigned to On/Off, Gain, Frequency and Q for band 1 of the Equaliser section. The value of the parameter is shown in the 4-character display below the control as it is adjusted. If a control is assigned to a switched function, such as EQ On/Off, turn the rotary control clockwise to activate the function (EQ On) and anticlockwise to deactivate the function (EQ Off). 3. To access the second level of functions, for example, the Filter controls, press the PAGE 2 button. For more details on assigning Free Controls, please refer to Page 134. Congratulations on completing this tutorial! Hopefully, we have given you enough information to being working with the console immediately. If you need more assistance, use the Index Directory located at the back of the manual to locate information on a particular topic. Otherwise keep reading to learn more about each area of the console’s operation.

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Chapter 2: Channel Control Introduction

Chapter 2: Channel Control Introduction In this chapter you will learn about the two main areas where you can adjust channel controls - the console’s channel strips and the Central Control Section. The Central Control Section

Channel Strips

We will assume that you are controlling a fully featured DSP channel. However, remember that the mc266 provides two types of DSP channel - full processing and reduced processing (Tiny) – which are used for input channels, monitor return channels, group masters, main sums and auxiliary masters according to your DSP configuration. For more details on signal flow and DSP configurations, please refer to Page 171. Note also that the console’s fader strips do not become active until they are assigned to channels of processing. This assignment allows you to configure input channels, groups, sums, auxiliary masters, etc. at any position on the control surface. Depending on the last production you loaded, you may be sat in front of a preconfigured control surface or a series of blank fader strips. We will assume that your console has pre-configured fader strips. If this is not the case, please turn to Page 192 for details on assigning channels to fader strips.

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Chapter 2: Channel Control The Channel Display

The Channel Display For every channel strip, the Channel display provides metering and feedback on inputs, outputs and local parameter values.

The primary function is to provide metering for each channel. The meters may be switched to different points within the signal flow, see Page 158, and will be mono or stereo according to the channel format. There are also a number of options for adjusting the meter scale, peak hold, etc. see Page 429.

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Chapter 2: Channel Control The Channel Display In addition to metering, the following information is provided: •

Bus assignments onto the: o

Group Busses

o

Auxiliary Busses

o

Track Busses

o

Sum Busses

The number of busses which are displayed can be adjusted from the System display, see Page 424. •

Dynamics gain reduction metering for the: o

G – Gate

o

E – Expander

o

C- Compressor

o

L - Limiter

•

INFO window – this area provides graphical feedback on the channel’s signal processing and parameter values (e.g. EQ). You may change what is displayed using the CHANNEL DISPLAY buttons located in the centre section of the console. See Page 226 for more details.

•

System Names – the two grey boxes display the fixed system names for the DSP channels assigned to the active and alternate fader strips. In our example, input channel 1 is assigned to the active layer (INP INP 1) 1 with nothing assigned to the alternate layer.

•

User Labels - the two black boxes display the programmable user labels for these channels. In our example, INP 1. 1 User Labels are programmed from the Signals display and are saved with the snapshot/production. Please refer to Page 395 for more details.

•

Input GAIN – this value displays the input gain for the channel. Note that this could be mic, line or digital gain depending on the source. See Page 131 for more details.

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Chapter 2: Channel Control Source Routing

Source Routing The console’s integrated digital routing matrix allows you to route any source to any channel or to multiple channels. For more details on using the console’s integrated router, please refer to Chapter 7: Signal Routing, Page 386.

Bus Routing The BUS ASSIGNMENT buttons in the centre section of the console are used to assign channels onto the console’s mix busses:

There are two ways to assign channels to busses: •

FORWARD Bus Assign – this is the conventional method for routing a channel onto a bus, and allows you to route a single channel onto single or multiple bus outputs. For example, when you want to assign input channel 1 to Group 1 and Sums 1 and 2.

•

REVERSE Bus Assign – this method allows you to interrogate and modify the assignments onto an individual bus, and is often quicker than conventional routing when, for example, you wish to route a range of channels to a single bus output.

Note that any type of DSP channel may be assigned onto a bus. This means, for example, that you may route a group onto a sum bus, or an auxiliary onto a group bus, in the same way you assign an input channel. Outputs may be configured as mono, stereo or multi-channel. For example, if a channel is assigned onto six sum busses configured for 5.1, then the corresponding pan law is applied. For more details on routing to surround outputs, see Page 81.

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Chapter 2: Channel Control Bus Routing

Forward Bus Assignments This method of routing is ideal for assigning a single channel onto multiple bus outputs. For example, let’s route an input channel (e.g. INP 1) onto group 1 (GRP 1): 1. First put input channel 1 into access either by pressing the SEL button on the fader strip controlling INP1, or using the ACCESS CHANNEL/ASSIGN control panel - press the INPUT channel type button, the numbers 1, followed by the Enter button.

This puts the input channel into access as indicated on the ACCESS CHANNEL/ASSIGN control panel’s displays. 2. Now press the GROUP BUS button, located on the BUS ASSIGNMENT: FORWARD panel.

The GROUP BUS button flashes, and across the console the fader SEL buttons on fader strips which are controlling group channels (GRP 1-48) flash, in green, to indicate possible destinations for the chosen input channel:

3. Press the fader SEL button on the fader strip controlling GRP 1 to make the assignment. If GRP 1 is not assigned to the active control surface, see page 81.

The fader SEL button stops flashing and changes colour from green to red to indicate that the channel is assigned to the selected destination. Note also that the Channel display above the fader strip updates to show the assignment onto group 1.

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Chapter 2: Channel Control Bus Routing 4. To undo the assignment, press the red fader SEL button on the GRP 1 fader strip.

The assignment is undone and the button returns to its flashing green status. 5. To route the channel onto a different group bus, select one of the other green fader SEL buttons. 6. When you are finished, deselect GROUP BUS or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit bus assign mode. Note that if the bus is stereo or surround, assignments are made in one operation. For example, routes onto a stereo Group bus are displayed on the Channel display as assignments to Groups 1&2, 3&4, etc. To route onto a different type of output bus, repeat the operation but make a different selection from the BUS ASSIGNMENT: FORWARD buttons: •

GROUP BUS selects Groups (up to 48).

•

SUM BUS selects main Sums (up to 48).

•

TRACK BUS assigns channels onto Track Buses (up to 96).

Note that a Track Bus is always tied to its corresponding Monitor return channel. Therefore, when you select Track Bus, it is the fader SEL button(s) on the corresponding Monitor return channels which allow you to make your track assignments. •

AUX BUS selects Auxiliary sends (up to 32).

Note that routing a channel onto an aux bus is equivalent to turning on the auxiliary send from the channel controls. The send gain and other parameters will remain at their previous values. Use any of the above when you wish to limit the choice of destinations to prevent accidental assignments onto different bus types.

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•

FADER selects all busses regardless of their type. Use this button when you wish to assign a channel quickly onto various types of busses.

•

VCA selects VCA masters (up to 16). Note that this does not assign the channel to a bus, but to a VCA control master.

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Chapter 2: Channel Control Bus Routing

Reve Reverse Bus Assignments This method allows you to interrogate and modify the assignments onto an individual bus, and is often quicker than conventional routing when assigning a range of channels to a particular bus output. This time rather than selecting the channel you wish to assign followed by the output destination, we reverse the thought process and select the destination output followed by the source channels. For example, let’s route eight input channels (e.g. INP 1-8) onto group 1 (GRP 1): 1. First select the destination either by pressing the SEL button on the fader strip controlling GRP 1 or using the ACCESS CHANNEL/ASSIGN control panel – press the GRP channel type button, the number 1, followed by the Enter button.

This puts group 1 into access as indicated on the ACCESS CHANNEL/ASSIGN control panel’s CHANNEL and LABEL displays. 2. Now press the INPUT button, located on the BUS ASSIGNMENT: REVERSE panel.

The INPUT button flashes, and across the console the fader SEL buttons on fader strips which are controlling input channels (INP 1-192) flash, in green, to indicate possible sources for the chosen destination:

If INP1 to INP8 are not assigned to the active control surface, then see page 81.

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Chapter 2: Channel Control Bus Routing 3. Press the fader SEL buttons on the fader strips controlling INP 1-8 to complete the assignment.

The fader SEL buttons stop flashing and change colour from green to red to indicate that the channels are assigned to the selected destination. Note also that the Channel display updates to show the bus assignments onto group 1. 4. To undo the assignment, press the red fader SEL buttons on the fader strips controlling INP 1-8.

The assignments are undone and the buttons return to their flashing green status. 5. When you are finished, deselect the INPUT button or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit bus assign mode. Note that if the bus is stereo, the assignment is made in one operation. For example, routes onto a stereo Group bus are displayed on the Channel display as assignments to Groups 1&2, 3&4, etc.

To route sources other than input channels onto the group, repeat the operation but make a different source selection from the REVERSE BUS ASSIGNMENT buttons: •

INPUT selects fader strips assigned to input channels.

•

GROUP selects fader strips assigned to groups.

•

MON selects fader strips assigned to monitor return channels.

•

FADER selects all fader strips regardless of their channel type.

Use the INPUT, INPUT GROUP and MON buttons when you wish to prevent accidental assignments from different channel types. Use the FADER button when you wish to assign any type of channel onto the same bus; to assign input channels and groups onto a sum bus for example.

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Chapter 2: Channel Control Bus Routing

Making Assignments from/to from/to Hidden Channels If the channels or busses you wish to access are not assigned to the current bank and layer of the control surface, then you may still make bus assignments by changing the operation of the ACCESS CHANNEL/ASSIGN control panel from access to assign. Let’s take the example of routing input channel 49 onto group 12 using forward bus assignment: 1. First put input channel 49 into access by pressing the INP channel type button and the numbers 4 and 9 followed by the Enter button.

This puts input channel 49 into access, as indicated by the name and label in the CHANNEL and LABEL displays. 2. Now press the GROUP BUS button, located on the BUS ASSIGNMENT: FORWARD panel in the centre section.

The GROUP BUS button flashes, and across the console the fader SEL buttons on fader strips which are controlling group channels (GRP 1-48) flash, in green, to indicate possible destinations for the chosen input channel. 3. If group 12 is available on the control surface, then you may route directly to it by pressing its fader SEL button.

The fader SEL button changes colour from green to red, and stops flashing to indicate that the channel is now assigned. 4. However, if group 12 is not on the current surface, press the ASSIGN button located to the right of the numeric keypad:

This now allows you to select your bus destination using the ACCESS CHANNEL/ASSIGN control panel. 5. Press the GROUP channel type button and the numbers 1 and 2 followed by the Enter button.

The assignment onto group 12 is complete. 6. Exit bus assign by deselecting the GROUP BUS assignment button.

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Chapter 2: Channel Control Bus Routing

Making Assignments to Surround Outputs Assignments to surround outputs can be made using either forward or reverse bus assign. However, there are a few points to note about the operation. When you assign a mono or stereo channel onto a surround output, the console assumes that you wish to make the assignment onto all of the busses within the multi-channel output. For example, let’s say SUMS 1 to 6 have been configured as a 5.1 surround output. For details on configuring multi-channel outputs, see Page 169. 1. Assign a mono or stereo channel to SUM 1 using forward or reverse bus assign.

Rather than just assigning the channel to SUM 1, the console assumes that you wish to route to the complete surround output, and assigns the channel to SUMs 1, 2, 3, 4, 5 and 6 in one operation. 2. However, having made the assignment, you can now edit it. So, for example, if you wish to remove the channel from SUM 6 (LFE), you can do so by deselecting the assignment to SUM 6. So, in summary, when you route onto a surround output, assignments are made onto all busses within the output. But, when you deselect routes from a surround output, they are deselected one by one allowing you to edit any surround assignment.

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Chapter 2: Channel Control Bus Routing

Bus ReRe-assign As you can see, either forward or reverse bus assignments may be used to route any type of channel, not just input channels, onto bus outputs. Let’s take an example where we wish to assign both input channels and groups onto sum 1. Reverse bus assign would be the quickest method to achieve this result: 1. Press the SEL button on the fader strip controlling SUM 1.

This puts Sum 1 into access as indicated on the ACCESS CHANNEL/ASSIGN control panel’s CHANNEL and LABEL displays. 2. Now press the FADER button, located on the BUS ASSIGNMENT: REVERSE panel.

The FADER FADER button flashes, and across the console the fader SEL buttons on all potential source fader strips flash, in green:

3. Now press the fader SEL buttons on the fader strips controlling the input channels (INPUT) and group channels (GRP) to make the assignments.

The fader SEL buttons stop flashing and change colour from green to red to indicate that the channels are assigned to the selected destination. 4. Exit bus assign by deselecting the FADE FADER R assignment button or pressing ESC on the ACCESS CHANNEL/ASSIGN control panel.

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Chapter Chapter 2: Channel Control Bus Routing

The Bus Assign Display An overview of the bus assignments for the channel in access is provided by the Bus Assign display. You may also change bus assignments from this display providing a fast way of routing onto many different bus outputs from a single channel. The Bus Assign display also provides a method of editing assignments made to stereo outputs. For example, if Sum 1 and Sum 2 are linked for stereo operation, then Forward and Reverse Bus Assign will automatically route source channels onto both sums. If you wish to assign a channel only onto Sum 2, for example, then make this assignment from the display. 1. Press the BUS button, located on the SCREEN CONTROL panel, to view the display now:

The display shows all the bus assignments for the channel in access – the name of the channel shown at the top left of the display. To change to a different channel, either press a fader strip SEL button or enter a channel type and number from the ACCESS CHANNEL/ASSIGN control panel. Assignments are colour coded with groups shown in yellow; track sends in blue; auxes in green; sums in red; CFX is reserved for future implementation. Depending on your choice of DSP configuration you may vary the number of groups, auxes and sums available for each production, see Page 171 for details.

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Chapter 2: Channel Control Bus Routing To change bus assignments from this display: 1. Using the trackball or navigation buttons change the focus of the display to the bus you wish to route to.

The name of the bus appears in the Selected Bus box. 2. Press the ASGN soft key located above the trackball to make the assignment.

The display updates to show the new assignment. 3. Press ASGN again to undo an assignment. For auxiliary assignments, you may also adjust the level of the aux send, and balance for a stereo aux send, from the display: 4. Using the trackball or navigation buttons focus on the aux send you wish to adjust.

The name and current level of the aux send appears in the Selected Bus box. 5. Press the SET soft key located above the trackball and turn the rotary control to adjust the aux send level.

The display updates to show the new value. For stereo sends, focus on the odd aux of the pair to adjust level and the even aux to adjust balance.

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Chapter 2: Channel Control The Central Control Section

The Central Control Section The Central Control Section provides dedicated access to all channel modules – input control, signal processing, panning, level, monitoring facilities, auxiliary sends and audio follow video (AFV) set up.

Working from top to bottom and left to right, controls are divided into the following sections:

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INPUT MIXER - input gain, microphone preamplifier settings, stereo input balance and stereo input controls.

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IMAGE – width and positioning controls for a stereo channel source.

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DAMP/DELAY/INS/DIROUT – digital gain, channel delay, insert switching and the channel direct output.

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GATE/EXPANDER – gate and expander dynamics processing.

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SCF/FILTER/EQUALIZER – 2-band filter and 4-band equaliser sections.

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COMP/LIM – compressor and limiter dynamics processing.

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PANNING – panning onto the channel’s mix bus outputs.

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FADER & MONITORING – local level, mute, AFL and PFL control.

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AUXILIARY/ AUDIO FOLLOWS VIDEO – auxiliary sends and audio follow video functionality.

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CHANNEL – input source selection for monitor channels, mix minus and talkback controls, AFL for individual processing sections and meter pick up point controls.

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Chapter 2: Channel Control The Central Control Section Note that all rotary controls on the mc266 are touch-sensitive encoders with the following features: •

Most controls offer a dedicated alphanumeric display showing either the parameter name or value which is being adjusted.

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The ring of LEDs indicates the current position of the control. Note that for levels, a corona appears around the control indicating the amount of deviation from the default value.

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The LED square beneath each control changes from green to yellow when a parameter is not set to its default value.

The controls default to provide fine parameter adjustment. For coarse adjustment (5 times faster), push down on the control as you adjust the parameter. Also note that every section of controls on the Central Control Section includes a SEL (Selection) button. This is used in conjunction with the PARAMETER COPY/ASSIGN panel to copy parameters between channels - see Page 150 for details. In addition, it may be used in conjunction with the LISTEN controls to AFL any individual processing section - see Page 123 for details.

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Chapter 2: Channel Control The Central Control Section

The Main Display The Central Control Section works in conjunction with the centre control screen’s Main Display. 1. Press the CHAN/CONFIG button, located on the centre section SCREEN CONTROL panel, to view the Main display:

The Main display is divided into the same sub sections as the Central Control Section front panel. As you adjust controls, the display updates to reflect your settings. Note that the name and label for the channel you are adjusting is always shown at the top left of the display. Also note that the heading above each area of the display, for example EQ, EQ GATE, GATE etc, changes colour from grey to green when that section is switched into circuit. This area is also used to display additional information for the section, for example if there are links between modules. The Main display also includes a meter, which follows the same options as set for the Channel display metering. Please see Page 158 for details on meter options.

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Chapter 2: Channel Channel Control The Central Control Section

Assigning Channels to the Central Control Section Remember that the channel in access is always the channel assigned to the Central Control Section. You can view the name and label of the channel currently assigned in the CHANNEL and LABEL displays on the ACCESS CHANNEL/ASSIGN control panel and at the top left of the Main display: To assign a new channel to the Central Control Section, use any of the methods for updating the channel in access: 1. If the channel is on the active control surface, press the SEL button on the channel fader strip. If the channel you wish to assign is not on the active surface, for example it is allocated to an underneath layer or bank of fader strips: 2. Select the channel type and number using the INPUT INPUT, MON TRK, TRK AUX, AUX GPC, GPC GROUP, GROUP SUM, SUM and MAIN FADER, FADER, STRIP or VCA buttons and numeric keypad. 3. Alternatively, use the NEXT and PREV, PREV or LEFT and RIGHT buttons to increment and decrement the channel number by DSP type or across the active control surface. Please refer to Page 17 for details on any of these operations. The Central Control Section may be used to control a channel which you do not want to have on the active fader strips. For example, during a live production you may wish to ‘hide’ your sum master channels to prevent accidental changes. Then when you wish to adjust settings on the channel, assign the sum to the Central Control Section using method 2 above. In addition, you may protect the channel assigned to the Central Control Section by locking the channel in access:

1. Locate the ACCESS CHANNEL/ASSIGN panel in the centre section of the console: 2. Press the LOCK ACC button to lock the current channel in access.

When LOCK ACC is selected, you cannot use the ACCESS CHANNEL/ASSIGN control panel or press fader SEL buttons to update the channel in access.

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Chapter 2: Channel Control Mono Channel Operation

Mono Channel Operation Let’s run through the Central Control Section in more detail, starting with the operation for a mono channel. For details on stereo channels, please see Page 126. For details on surround operation, see Page 169.

INPUT MIXER The INPUT MIXER controls input gain, microphone preamplifier settings, stereo input balance and compatibility functions such as Phase Reverse, Mono, Left to Both, Right to Both and Left/Right Reverse. You will be presented with a slightly different set of controls depending on the type of input board your source is connected to (Line, Mic/Line or Digital). Also note that depending on the hardware configuration of your DALLIS input card(s), gain ranges may vary. Please refer to the DALLIS I/O technical data for details.

Line Level Analogue Source Settings 1. The LINE button is automatically selected. 2. Use the GAIN control to remotely set the analogue gain prior to the A-D conversion

The gain range is normally adjusted from -7dB to 20dB, although this may vary depending on your hardware configuration. Please refer to the DALLIS I/O technical data for details. 3. Press the high pass filter button to insert an analogue subsonic filter prior to the A-D conversion. Toggle the button to cycle through the filter roll-off frequency options: Off, 40Hz, 80Hz and 140Hz.

The 40, 40 80 or 140 Hz indicator lights on the Main display to show the selected filter frequency. Note that the 48V, 48V LINE and PAD buttons are inactive for a line level source.

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Microphone Preamplifier Settings On Mic/Line input cards, the source may be switched to provide microphone preamplifier control as follows. 1. Deselect the LINE button.

The MIC indicator lights on the Main display and the following settings become available: 2. Use the GAIN control to remotely set the microphone preamplifier gain within the analogue domain prior to the AD conversion.

The gain range is normally adjusted from 0dB to 70dB, although this may vary depending on your hardware configuration. Please refer to the DALLIS I/O technical data for details. 3. Press the 48V button to select 48V phantom power.

The 48V indicator lights on the Main Display. 4. Press the high pass filter button to insert an analogue subsonic filter prior to the A-D conversion. Toggle this button to cycle through the filter roll-off frequency options: Off, 40Hz, 80Hz and 140Hz.

The 40, 40 80 or 140 Hz indicator lights on the Main display to show the selected filter frequency. 5. Press PAD to insert the 20dB PAD.

The PAD indicator lights on the Main display.

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Chapter 2: Channel Control Mono Channel Operation

Digital Source Settings When any type of digital source (AES, MADI, etc.) is routed to the channel, the DIG indicator on the Main display is selected, and the following settings become available: 1. Use the GAIN control to set the digital input gain.

The gain setting is displayed in the GAIN box on the Main display. Gain may be adjusted from -20dB to +15dB. Note that the 48V, 48V LINE, LINE PAD and filter option buttons are inactive for a digital input source.

Phase Reverse For any input DSP channel, mic, line or digital: 1. Press the source.

button to reverse the phase of the mono

The PH1 indicator lights on the Main display.

A/B Input Switching Switching For any input or monitor DSP channel, you may assign a back up source (B) from the Signals display. For example, you may assign the main wireless mic for your presenter to INP 1 source A, and a spare mic to INP 1 source B. You can then switch quickly from A to B during the show if the first mic fails: 1. Press the B button to switch to the B source. 2. Press the A button to return to source A.

On the Channel display, each input or monitor channel is shown with either an A or B pre-fix to indicate the current source. Sources are assigned to the A and B inputs from the Signals display, see Page 390 for details. Note that if there is no source assigned to B input, then pressing the B button will switch the channel to silence.

Stereo Input Controls For a mono channel, the BAL, MONO, MONO L>B, L>B R>B R>B, L/R Reverse, Phase Reverse Right and M/S controls are inactive. Please refer to Page 126 for full details on stereo channel operation.

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IMAGE Below the INPUT MIXER, the IMAGE section of controls deals with image positioning and width on stereo channels, and also contains the STE (STEREO) button which may be used to create a stereo channel. Note that this section is only active for a stereo channel, and will remain blank for a mono source. Please refer to Page 126 for full details on stereo channel operation.

DAMP/DELAY/INS/DIROUT Below IMAGE, the DAMP/DELAY/INS/DIROUT section of controls may be assigned to adjust any of the following four audio modules: •

DAMP – Digital AMPlifier – provides a flexible gain control AMP which may be positioned anywhere within the channel signal flow.

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DELAY – provides control of channel delay which may be set in ms, frames or meters.

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INS – the channel insert point, which may be positioned anywhere within the channel signal flow.

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DIROUT – DIRect OUTput – the direct output, which may be DIR OUT positioned anywhere within the channel signal flow.

Digital Amplifier (DAMP) 1. Press the DAMP button to assign the rotary controller and buttons to the Digital Amplifier audio module. 2. Press the ON button to switch the gain element in and out of circuit. 3. Move the rotary control to adjust the digital gain.

The gain value is displayed in the DIGAMP GAIN box on the Main display. Gain may be adjusted from -128dB to +15dB. Note that the MODE button is inactive for the digital amplifier.

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Chapter 2: Channel Control Control Mono Channel Operation

Channel Delay (DELAY) 1. Press the DLY button to assign the rotary controller and buttons to the channel delay audio module. 2. Press the ON button to switch the delay in and out of circuit. 3. Toggle the MODE button to cycle around the channel delay unit options – milliseconds (ms), frames (frms) or meters (m).

The TIME box on the Main display updates to show your chosen units. 4. Move the rotary control to adjust the delay time.

The amount of delay is displayed in the TIME box on the Channel display. Channel delay may be set from 0 to 1800ms. When adjusting delay in frames, set the frame rate using the System display, see Page 441 for details. Push down on the rotary control to set the delay time coarsely. Set Delay in ms or frames when you are dealing with a specific time delay, for example, to delay the channel’s audio relative to an incoming video feed. Set Delay in meters when you are time aligning microphones positioned on the studio floor and know the distance between the microphones. Depending on the hardware configuration of your console, an additional 48 delays may be available from the DSP Module 98303. These are fixed time delays which may be inserted into any routing crosspoint and are programmed within the system configuration.

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Channel Insert (INS) 1. Press the INS button to assign the rotary controller and buttons to the channel insert module. 2. Press the ON button to switch the insert return in and out of circuit.

If an insert return is not assigned, you will get silence when you switch the insert into circuit. 3. With the insert ON ON, adjust the rotary control to set the level of the insert send.

The SEND level is shown on the Main display and may be adjusted from -128dB to +15dB. The MODE button is inactive for the insert section. Note that the channel insert send is always active even when the return is not inserted. This allows the insert send to be used to generate an extra clean feed from the channel, with level control, which may be taken from any point in the channel signal flow. Please refer to Page 165 for details on changing the channel’s signal processing order. The insert send and return assignments are made from the Signals display by routing the DSP channel’s insert send to the output feeding the insert device, and routing the output of the external device to the corresponding insert return. See Page 70 for details.

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Chapter 2: Channel Control Mono Channel Operation

Direct Output (DIROUT) 1. Press the DIROUT button to assign the rotary controller and buttons to the direct output module. 2. Press the ON button to activate the direct output. 3. Move the rotary control to adjust the direct output send level.

The SEND level is displayed on the Main display and may be adjusted from -128dB to +15dB. 4. Route the direct output to a destination using the Signals display, see Chapter 7 for details. The MODE button is inactive for the direct output section. Note that the direct output may be fed from any position in the channel signal flow. For example, you could use the direct output to create a pre fader send to feed a multitrack recorder, while using the post fader output for the live production mix. Please refer to Page 165 for details on changing the channel’s signal processing order.

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Equalisation and Filtering The console provides a 4-band equaliser section plus two 2-band high and low pass filter sections; one dedicated to the main channel and one dedicated to the dynamics sidechain. EQ and filters may be arranged in any order within the channel signal flow and are controlled from the SCF/FILTER/EQUALISER control area:

Four sets of dedicated GAIN, FREQ and Q/SLP controls, with band OFF and equalisation type buttons are provided. 1. Switch the four sets of controls between sidechain filters (SCF), main channel filters (FILTER) and the 4-band equaliser (EQ) using the DISP (Display) buttons at the bottom of the panel.

Select the EQ DISP button and all four sets of controls become active, providing access to low, low mid, high mid and high frequency equaliser bands. Note that when you select either the SCF or FILTER DISP buttons, only the two outer sets of controls remain active, providing access to the low and high frequency filter bands. 2. Press the SCF, FILTER and EQ ON buttons to turn each section on or off. 3. Having switched the section ON and selected the controls you wish to adjust using the DISP button, now adjust the GAIN, FREQ and Q/SLP controls to adjust the equaliser or filter settings.

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Chapter 2: Channel Control Mono Channel Operation In addition to the control displays, the Main display provides valuable feedback on specific settings and features a graphical overview of the EQ processing:

The Filter graph normally shows the main (FILTER FILTER) FILTER settings unless you are adjusting the dynamics sidechain (SCF SCF) SCF filters:

All 4-bands of EQ and 2-band filter sections operate across the full frequency range (20Hz to 20kHz), and offer a variety of different EQ types. 4. Press the OFF buttons to switch any individual band out of circuit. 5. Press the two EQ type buttons to change type between bell, shelf and pass band filters for the high and low bands, and bell, constant Q and notch for the middle bands.

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Chapter 2: Channel Control Mono Channel Channel Operation

Dynamics Processing The console provides four independent blocks of dynamics processing (Gate, Expander, Compressor and Limiter). The GATE/EXPANDER and COMPRESSOR/LIMITER sections are controlled from either side of the SCF/EQ/FILTER panel:

Note that any of the four sections may be placed anywhere within the channel signal flow. For example, to gate pre EQ and compress post EQ, or to limit the channel signal post fader while compressing the feed to the direct output. Here we will deal with using the front panel controls. Please refer to Page 165 for details on changing the channel signal processing order. In addition, a dedicated 2-band filter section may be inserted into the sidechain of the compressor or gate. Please see Page 105 for details. On both the GATE/EXPANDER and COMP/LIM panels, you will find an EXTK (External Key) button; this is reserved for future implementation.

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Chapter 2: Channel Control Mono Channel Operation The current Gate, Expander, Compressor and Limiter settings are shown on the Main display:

In addition to providing valuable feedback on specific settings, the displays feature a graphical overview for each section, vertical GAIN reduction metering; horizontal IN (input) and OUT (output) level metering; and a bouncing ball indication of the current signal level within the dynamics processor. Use the bouncing ball position and the IN and OUT levels to see how much gain reduction or expansion is being applied. Use the section’s Look Ahead Delay (LAHD) to delay the main signal path relative to the gate, expander, compressor or limiter. This will result in pleasant dynamics processing even for widely varying dynamic signals.

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GATE/EXPANDER This section of controls is switched between setting up the Gate and the Expander by pressing the EXP button. Note that both sections can be used independently such that you could be gating at low levels and expanding at higher levels on the same channel.

Setting a Gate 1. Check that the EXP button is turned off. 2. Press the ON button to switch on the Gate. 3. Check that the 2nd button is off and use the four rotary controls to set the gate attack time (ATT/RLS), threshold level (THRS/LAHD), hold time (RATIO/HOLD) and floor level (FLOOR/GAIN). 4. Now turn on the 2nd button and use the two upper controls to set the release time (ATT/RLS) and look ahead delay; and the lower control to set the output gain (FLOOR/GAIN).

The front panel displays, and boxes on the Main display update to show the relevant settings. The action of the gate is best described by looking at the Gate graph on the Main display. Note that as you adjust your settings, the bouncing ball shows the position of the signal level relative to the threshold and floor levels you have set. In addition, the vertical GAIN meter on the left displays the amount of gain reduction being applied to the signal; when the gate is active, the meter turns red. Finally, the two meters below the graph show the input (IN IN) OUT) IN and output (OUT OUT levels to and from the section. The Gate parameters may be set as follows: •

Threshold Level – from -70dB to 0dB.

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Floor Level – from 0dB to -128dB.

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Attack Time – from 0.1ms to 250ms.

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Release Time – from 0.04secs to 10secs.

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Hold Time – from 0ms to 500ms.

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Look Ahead Delay – from 0ms to 10ms.

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Gain – from -40dB to 0dB.

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Chapter 2: Channel Control Mono Channel Operation

Using the Expander 1. Turn on the EXP button to assign the controls to the channel expander. 2. Press the ON button to switch the Expander into circuit. 3. Check that the 2nd button is off and use the four rotary controls to set the expander attack time (ATT/RLS), threshold level (THRS/LAHD), slope (RATIO/HOLD) and output gain (FLOOR/GAIN). 4. Now turn on the 2nd button and use the three upper controls to set the release time (ATT/RLS), look ahead delay and hold time (RATIO/HOLD).

The front panel displays, and boxes on the Main display update to show the relevant settings. The action of the expander is best described by looking at the Expander graph on the Main display. Note that as you adjust your settings, the bouncing ball shows the position of the signal level relative to the threshold and ratio you have set. In addition, the vertical GAIN meter on the left displays the amount of gain reduction being applied to the signal. Finally, the two meters below the graph show the input (IN IN) OUT) IN and output (OUT OUT levels to and from the section. The Expander parameters may be set as follows:

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Threshold Level – from -70dB to 0dB.

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Ratio – from 0.1:1 to 1:1.

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Attack Time – from 0.1ms to 250ms.

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Release Time – from 0.04secs to 10secs.

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Hold Time – from 0ms to 500ms.

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Look Ahead Delay – from 0ms to 10ms.

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Gain – from -40dB to 0dB.

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COMPRESSOR/LIMITER Move across to the COMP/LIM section of controls to set the Compressor and Limiter dynamics processing. Note that both sections can be used independently such that you could be compressing at low levels and limiting at higher levels on the same channel.

Setting a Compressor 1. Check that the LIM button is turned off. 2. Press the ON button to switch on the Compressor. 3. Check that the 2nd button is off and use the four rotary controls to set the compressor attack time (ATT/RLS), threshold level (THRS/LAHD), ratio (RATIO/HOLD/KNEE) and output gain (GAIN). 4. Now turn on the 2nd button and use the two upper controls to set the release time (ATT/RLS) and look ahead delay.

The front panel displays, and boxes on the Main display update to show the relevant settings The action of the compressor is best described by looking at the Compressor graph on the Main display. Note that as you adjust your settings, the bouncing ball shows the position of the signal level relative to the threshold and ratio you have set. In addition, the vertical GAIN meter on the left displays the amount of gain reduction being applied to the signal. Finally, the two meters below the graph show the input (IN IN) OUT) IN and output (OUT OUT levels to and from the section. The Compressor parameters may be set as follows: •

Threshold Level – from -40dB to +20dB.

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Ratio – from 1:1 to 10:1.

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Attack Time – from 0.3ms to 250ms.

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Release Time – from 0.04secs to 10secs. :

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Look Ahead Delay – from 0ms to 10ms.

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Gain – from -20dB to +20dB.

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Knee – hard or soft. This parameter is set on the Channel Config display, see Page 167 for details.

For a smoother compressor, assign the 2-band sidechain filter to the compressor and set -10dB gain for a 18dB/octave low shelf at around 125Hz to remove unwanted low frequencies, see Page 105 for details.

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Chapter 2: Channel Control Mono Channel Channel Operation

Setting a Limiter 1. Turn on the LIM button to assign the controls to the channel limiter. 2. Press the ON button to switch on the Limiter. 3. Check that the 2nd button is off and use the four rotary controls to set the limiter attack time (ATT/RLS), threshold level (THRS/LAHD), hold time (RATIO/HOLD/KNEE) and output gain (GAIN). 4. Now turn on the 2nd button and use the three upper controls to set the release time (ATT/RLS) and look ahead delay (THRS/LAHD).

The front panel displays, and boxes on the Main display update to show the relevant settings The action of the limiter is best described by looking at the Limiter graph on the Main display. Note that as you adjust your settings, the bouncing ball shows the position of the signal level relative to the threshold values you have set. In addition, the vertical GAIN meter on the left displays the amount of gain reduction being applied to the signal. Finally, the two meters below the graph show the input (IN IN) OUT) IN and output (OUT OUT levels to and from the section. The Limiter parameters may be set as follows: •

Threshold Level – from -20dB to +20dB.

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Attack Time – from 0.3ms to 250ms.

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Release Time – from 0.04secs to 10secs.

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Hold Time – from 0ms to 500ms.

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Look Ahead Delay – from 0ms to 10ms.

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Gain - from -20dB to +20dB.

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Knee – hard or soft. This parameter is set on the Channel Config display, see Page 167 for details..

For best results you should give the limiter the chance to ‘see’ signal peaks in advance by setting a look ahead delay of 5ms.

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Filtering the Dynamics Sidechain On both the GATE/EXPANDER and COMP/LIM panels, you will find the SCF (Sidechain Filters) button. 1. Deselect EXP and press SCF to key the gate from the filtered sidechain. 2. Deselect LIM and press SCF to key the compressor from the filtered sidechain. 3. To view the sidechain filter settings on the Main display, press the SCF DISP button located on the SCF/FILTER/EQUALISER panel.

The filter area on the Main display updates to show the sidechain filter settings.

Note that you may not select sidechain filtering for more than one section of dynamics processing. 4. Now move over to the SCF/FILTER/EQUALISER section and use the SCF (Sidechain Filter) controls as described on Page 97 to process the sidechain signal. Note that you may audition the sidechain signal by using the KEY LISTEN function as described on Page 123. For a smoother compressor, assign the 2-band sidechain filter to the compressor and set -10dB gain for a 18dB/octave low shelf at around 125Hz to remove unwanted low frequencies.

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Chapter 2: Channel Control Mono Channel Operation

PANNING In this area of the Central Control Section you will find the channel panning controls. Depending on the output format of your bus master, the controls provide stereo or multi-channel surround positioning. A variety of multi-channel output formats are supported, including Dolby Stereo (SR), Dolby ProLogic, Dolby Digital, DTS and SDDS. Multichannel formats may be defined for your bus outputs in the Channel Config display, please refer to Page 169 for details. In addition to conventional X/Y pan positioning, a third dimension (the Z-axis) is added to provide control of the height of the channel signal according to the THX specification. Controls are also provided to adjust the level to the LFE channel (Effect) and centre channel balance (Slope). The following description explains panning from a mono channel. For more details on panning from a stereo channel, please refer to Page 126. 1. Press the ON button at the bottom of the PANNING section to switch the controls into circuit. Note that if your channel is only routed to a mono output, then the panning section cannot be turned on; you must be routed to either a stereo or surround output for panning to be active. 2. Check that the 2nd button is off and use the lower rotary control to adjust the left/right pan position (L/R).

The left/right position is displayed around the control and in the X box on the Main display. The Main display panning window also provides a graphical representation of the pan position. Note that the EFF/H-L and F-B/SLOPE controls and FLAT, FLAT LCR and CPL buttons are inactive when panning onto a stereo bus; when panning onto a surround bus they act as follows: 3. Use the upper control to adjust the Front/Back (F-B) pan position.

The position is displayed around the control and in the Y box on the Main display. The Main display panning window also provides a graphical representation of the pan position. 4. The middle control (EFF) adjusts the level to the Effect (LFE or subwoofer channel).

The Effect level is displayed around the control and on the Main display, and may be set from -128dB to +15dB.

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Chapter 2: Channel Control Mono Channel Operation 5. Now turn on the 2nd button and use the upper control to adjust the slope of the channel (SLOPE). This control adjusts signals feeding to the discrete centre channel within the surround field, and may be used to adjust the balance between discrete and phantom centre signals. To see the effect, position your channel to front centre, and adjust the SLOPE control to a setting of +20; the signal feeds only the discrete centre channel. Move the SLOPE control anticlockwise to a setting of -20; the signal now feeds only the left and right channels (phantom centre). 6. The level of signal feeding the centre channel is also affected by the selection of the FLAT and LCR buttons: •

Select LCR to apply level compensation as you pan across left, centre, right channels.

•

Select FLAT if you wish the level feeding the centre channel to remain constant as you pan across the LCR speakers.

The amount of level compensation depends on the surround format applied to the output busses. 7. Use the middle control to adjust the height (H-L).

The position is displayed around the control and in the Z box on the Main display. The Main display panning window also provides a graphical representation of the pan position.

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Joystick Panning In addition to the channel controls, any fader strip may be controlled from the console’s joystick panel:

The joystick is automatically assigned to the Central Control Section channel. Therefore, to re-assign the joystick, use any of the following methods to update the channel in access: 1. If the channel is on the active control surface, press the SEL button on the channel fader strip. If the channel you wish to assign is not on the active surface, for example it is allocated to an underneath layer or bank of fader strips, use the ACCESS CHANNEL/ASSIGN control panel: 2. Select the channel type and number using the INPUT INPUT, MON, MON AUX, AUX GPC, GPC GROUP, GROUP TRK, TRK SUM, SUM and VCA, VCA MAIN FADER or STRIP buttons and numeric keypad. 3. Alternatively, use the NEXT and PREV, PREV or LEFT and RIGHT buttons to increment and decrement the channel number by DSP type or across the active control surface. Once assigned, the following controls are available: 4. Press the ON button to activate panning on the channel. 5. When routed to a stereo output, move the joystick left or right to control the Left-Right pan position.

Y-axis movements are ignored when panning onto a stereo output. 6. When routed to a surround output, the joystick can operate in one of two planes:

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•

Move the joystick left or right to control the Left-CentreRight pan position, and up or down to control Front-Back.

•

Or, select the X-Z button and move the joystick left or right to control the Left-Centre-Right pan position, and up or down to control Height (H-L).

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Chapter 2: Channel Control Mono Channel Operation 7. In either of the these two modes, you can restrict the joystick to provide more control for a particular axis by selecting:

•

X - this isolates the X-axis so that any left-centre-right movements are ignored.

•

Y/Z - this isolates either the Y or Z-axis, depending on the status of the X-Z button, so that any up/down (Front-Back or High-Low) movements are ignored.

The pan position for the channel is displayed graphically on the Main display. You may disable the joystick panner to protect the current pan positions of the channel in access by selecting both the X and Y/Z buttons. This will disable panning from the joystick while still allowing panning from the Central Control Channel. To reactivate the joystick, deselect X and Y/Z. Y/Z The FREEZE button provides the option to lock the joystick to a particular channel. For example, if you wish to pan fader strip 1 using the joystick, while assigning fader strip 2 to the Central Control Section panning controls. 8. First assign a channel (e.g. fader strip 1) onto the joystick. 9. Select FREEZE to lock the assignment. 10. Now assign another channel (e.g. fader strip 2) to the Central Control Section.

The Joystick remains in control of fader strip 1 until you deselect FREEZE.

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Chapter 2: Channel Control Mono Channel Operation

FADER, MUTE, AFL and PFL Next to the Central Control Section PANNING controls you will find a dedicated fader, mute and AFL/PFL monitoring controls: 1. The fader provides convenient local control of level while using the Central Control Section.

As you adjust the fader position, the FADER GAIN box updates on the Main display. 2. Press the MUTE button to mute the channel. Note that the Mute button may be set to one of two options from the System display, see Page 420: •

Fader Mute – mutes post fader signals. Use this option when you wish to mute post fader signals but not pre fader signals such as the auxiliary pre fader sends.

•

Channel Mute – mutes post fader signals, the insert send and the output of the INMIX section. Use this option when you wish to mute both pre and post fader signals.

In addition, mute buttons may be disabled to prevent accidental muting of channels, see Page 419 for details. 3. Press AFL to listen to the post fade channel signal. 4. Press PFL to listen to the pre fade channel signal. Depending on your monitoring configuration, AFL and PFL signals may appear on the Control Room 1, Control Room 2 or external monitor speakers. In addition, you may have access to AFL to Mains and PFL to Mains switching from the 24 programmable Control Room Monitoring panel buttons. These settings are programmed within the factory configuration; please refer to your console’s specification for details. Note that a number of options may be set for AFL, PFL and Soloin-Place within the System display, see Page 432 for details. Both PFL and AFL are stereo busses, enabling you to listen and pan a channel pre fader before sending it to the mix. In addition, depending on your DSP configuration, the AFL bus may be multichannel, enabling you to listen non-destructively to your surround mix.

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Chapter 2: Channel Control Mono Channel Operation

AUXILIARY/ AUDIO FOLLOW VIDEO The area of the Central Control Section to the right of the centre control screen provides access to the channel’s auxiliary sends and audio follow video (AFV) functionality.

Auxiliary Sends Depending on your choice of DSP configuration, each channel may access up to 32 auxiliary sends. These are paged onto the eight rotary controls using the access buttons at the bottom of the panel: 1. Press AUX 1..8 to assign the first eight auxiliary sends onto the rotary controls. The names AUX 1 to AUX 8 appear in the alphanumeric displays showing which send is allocated to each control. 2. Press the ON button to activate the auxiliary send. Notice that when you turn sends on and off, the AUX 1 to 32 boxes on the Channel display update to reflect your assignments. 3. Now use the rotary control to adjust the send level. The send level may be adjusted from -128dB to +15dB. 4. The send level defaults to be post fader. Press PF to switch the send pre fader or PEQ to switch the send pre EQ. Note that the pre EQ position will follow any changes you make to the position of the EQ in the channel signal flow providing the ability to position the auxiliary send virtually anywhere within the channel. 5. Press the AUX 9..16, AUX 17..24 or AUX 25..32 buttons to access the remaining auxiliary sends for the channel. If your DSP configuration does not support the full 32 auxiliary sends, then the send controls are inactive. Note that auxiliary send levels may also be controlled from faders using the FADER CONTROL feature, see page 227 for details.

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Chapter 2: Channel Control Mono Channel Operation

Auxiliary Master Channels Remember that each auxiliary master channel may be assigned onto a channel or main fader strip, in the same way as you would assign an input channel to a fader. This creates a fader strip auxiliary master with access to full or tiny channel processing depending on your DSP configuration.

For more details on how to assign auxiliary masters to the control surface, please refer to Page 192. Assuming that you have assigned your auxiliary masters onto a series of fader strips, here a few reminders of what you can do with auxiliary master channels:

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•

Control the level, mute, AFL and PFL and assign free controls as you would for an input channel. See Page 134.

•

Apply full signal processing, using the Central Control Section. See Page 86.

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Chapter 2: Channel Control Mono Channel Operation

Stereo Auxiliary Sends Stereo sends are created by linking adjacent mono sends (e.g. Aux 1&2, Aux 3&4, etc.). Any number of sends may be set to mono or stereo and the configuration is stored as part of the production snapshot. To make a stereo send, you change the auxiliary master channel from mono to stereo, in the same way you would change an input channel from mono to stereo: 1. Assign the auxiliary master fader strip to the Central Control Section by pressing the fader strip SEL button. 2. Or, selecting an AUX from the ACCESS CHANNEL/ASSIGN control panel, by pressing AUX and the number followed by the Enter button. 3. Now go to the IMAGE section of controls and press STE.

This changes the auxiliary master channel to stereo, as indicated by the stereo meter on the Main display and the STE indicator beside the auxiliary master fader. 4. Now re-assign an input channel which is feeding the stereo auxiliary master to the Central Control Section. 5. Access the appropriate bank of sends using the AUX 1..8, AUX 9..16, AUX 17..24 or AUX 25..32 buttons as before. 6. Notice that when you press the ON, or PEQ and PF, buttons on either of the odd or even sends, the functions are linked for stereo operation. 7. Use the rotary control on the left to set the level of the aux send. 8. Use the rotary control on the right to adjust the pan position, or stereo balance if routed from a stereo input channel.

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Chapter 2: Channel Control Mono Channel Operation Operation

Mix Minus (N(N-1) and Conference Auxiliary Sends In addition to effects sends, cue feeds and other utilities, the console’s auxiliary sends may be used to generate mix minus (N1) or conference-style communications feeds. Any number of auxiliary sends may be configured for mix minus operation from the signal Settings display. Once configured, the mix minus is then controlled from the fader strip’s CORD, CORD CONF and TALK buttons:

•

The coordination (CONF CONF) CONF buttons activate any corresponding mix minus sends.

For example, if three remote sources have been configured for mix minus operation, then pressing the CONF buttons on all three channel strips activates the individual N-1 sends. •

The CORD button changes the mix minus from an N-1 into a pre-talk auxiliary send.

Use this mode when you wish to generate a conference-style feed for your guests and presenters. All channels with CORD selected contribute to the feed such that members can talk to each other pre-fader while they are off-air. However, as soon as their channel fader is opened and they are on-air, their conference auxiliary feed is muted. •

Depending on your talkback configuration, the TALK button may be used to talk to the mix minus.

Note that each mix minus is linked to the input source, rather than the DSP channel. This means that if you route the input source (e.g. MIC 8) elsewhere, the mix minus operation automatically follows.

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Chapter 2: Channel Control Mono Channel Operation

Configuring Mix Minus Auxiliary Sends The first step is to configure the auxiliary sends to be used for each mix minus feed. This is done from the Settings display by linking the auxiliary you wish to use to the input source. For example, you have three remote feeds which are input to the console on AES Inputs 1, 2 and 3. You can create a mix minus for each source using any auxiliary send, but to keep things simple let’s use auxiliary 1, 2 and 3. To make the configuration: 1. Press the SIGNAL button, located on the SCREEN CONTROL panel view the Signals display:

2. Using the trackball or navigation buttons, select the directory (e.g. Digital), Digital sub-directory (e.g. HD AES AES IN 11-24) 24 and the first source (e.g. AES3_001) AES3_001 you wish to assign a mix minus send.

Your selected source is highlighted in black.

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Chapter 2: Channel Control Mono Channel Operation 3. Now press the SCREEN CONTROL SIGNAL button again to switch to the Settings display:

Your selected source name and label (e.g. AES3_001) AES3_001 are shown in the Selection box at the top left of the display, and a list of the current destinations for this source in the Destinations list below. This display is used to configure a number of source and destination settings. We are interested in the MixMix-minus box at the bottom left of the display. 4. Select the Mix Mix--minus box, either using the trackball or navigation buttons and use the rotary control, located above the trackball, to scroll through the auxiliary sends 1 to 32. For our example, select AX 1. 1 5. Press the SET soft key to confirm the selection.

The name and label boxes beneath MixMix-minus update to show the name and label of the selected aux. 6. Repeat steps 1 to 4 to configure auxiliaries 2 and 3 as the Mix-minus sends for AES inputs 2 and 3. Having configured a link between the input source and mix minus auxiliary send, now return to the Signals display by pressing SIGNAL again, and route the output of the auxiliary sends to the relevant mix minus destinations. In this example, we want to route auxiliary 1, 2 and 3 to the remote feed returns (e.g. AES Outputs 1-3). Please refer to Page 386 if you need help making routes to these destinations.

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Chapter 2: Channel Control Mono Channel Operation

Activating the Mix Minus Sends Having configured auxiliary sends 1, 2 and 3 to provide mix minus feeds for AES Inputs 1, 2 and 3: 1. Go to the fader strips controlling AES Inputs 1, 2 and 3, and press the CONF buttons on all three channels.

The mix minus is automatically activated for each destination. 2. Depending on your talkback configuration, the TALK button on each fader strip may be used to talk to the mix minus. 3. To add channels not within the coordination group to the mix minus, press their CONF buttons. For example, you may wish to send the output of several replay machines to all the mix minus recipients.

The channels are routed onto the mix minus bus; therefore feed all mix minus sends. To control the master output level or AFL/PFL a mix minus send, assign the auxiliary master channels onto channel or main fader strips and use the fader, AFL or PFL buttons. For more details on assigning channels to fader strips, please refer to Page 192. To meter the mix minus sends, use the Channel display metering on the auxiliary master channels. Also, note that the mix minus configuration can be used to create an N-many send. For example, if you have three guests in the studio and remote feeds from New York and Australia, you could use auxiliary 1 to feed all three guests while auxiliary sends 2 and 3 feed New York and Australia. To set this up, follow the same configuration operations, but select Auxiliary 1 as the Mix-minus send for all three guest sources from the Settings display.

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Chapter 2: Channel Control Mono Channel Operation

Conference (Pre(Pre-Talk) Mix Minus Sends Having configured your mix minuses and activated the CONF buttons, the auxiliary sends may be switched to provide conference-style sends using the CORD buttons.

This is a great facility for enabling guests and presenters to talk to each other while off-air. As long as their channel fader is closed, each conference auxiliary receives a pre-fader mix of all CORD contributors minus themselves. As soon as the channel fader is opened, and they are back on-air, the pre-fader auxiliary reverts to a post fader mix minus. To activate the conference-style mix minus: 1. Go to the fader strips controlling the mix minus sources and press the CORD buttons on the channels you wish to act a pre-talk sends.

The conference facility is automatically activated for each mix minus send. You can use a mixture of buttons across channels to configure pre-talk sends (CORD CORD) CORD for some presenters and post-fader mix minus sends (CONF CONF) CONF for others. For example, your guest in New York may wish to talk to the studio presenters, but not to the guest in Australia! You can any other channel, for example a CD player, onto the mix minus send by pressing its CONF button.

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Chapter 2: Channel Control Mono Channel Operation

Audio Follows Video Returning to the Central Control Section, the channel’s audio follow video (AFV) functionality is set from the eight AUXILIARY/ AUDIO FOLLOWS VIDEO rotary controls. AFV provides the ability to open and close a channel or main fader from an external event. For example, during coverage of a live motor racing event, you may program the audio channels associated with each camera to automatically open and close as the picture cuts between different shots. Up to 128 events may be programmed; connections to the external controller are made via one of the console’s Ethernet ports and one event relates to one Tally of the video mixer. Please refer to the mc266 Technical Manual for full details. Assuming that you have connected the external controller, and have the channel you wish to control assigned to the Central Control Section: 1. Press AFV on the AUXILIARY/AFV panel. The eight rotary controls switch to AFV functions as indicated on the alphanumeric displays. 2. Use the EVNT control to assign the external event. Up to 128 events can be assigned for AFV functions. Scroll the rotary control until the correct event number for your Ethernet port configuration is selected. The event number appears below the control and on the Main display. Active events are numbered from 1 to 128. Select 0 for no event.

3. To action the event locally from the console, press the EVNT control ON button. The AFV display shows the progress of the event in real time as a red bar on the display. You will also see the fader which you are programming open according to the following event settings:

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Chapter 2: Channel Control Mono Channel Operation 4. With the event turned on, use the fader to set the on level. This is the level which the fader will open to when triggered by the AFV event.

The level is shown below the control and on the Main display, and may be adjusted from -128dB to +15dB. You may also adjust this level from the ONLV rotary control. 5. Now turn the event off, and use the fader to set the off level. This is the level which the fader will close to when the event is switched off.

The level is shown below the control and on the Main display, and may be adjusted from -128dB to +15dB. 6. The RTME control sets the rise time. This is the time taken for the fader to move from off to on level.

The rise time is shown below the control and on the Main display, and may be adjusted from 0 to 10 seconds: On Time e.g. INP 1

Fall Time On Level

Rise Time

Off Level

7. The OTME control sets the on time and is similar to the hold function on a gate. This is the amount of time the fader stays at the on level after the event has switched off.

On time is shown below the control and on the Main display, and may be adjusted from 0 to 10 seconds.

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Chapter 2: Channel Control Mono Channel Operation 8. Set the fall time using the FTME control. This is the time taken for the fader to move from on to off level.

The fall time is shown below the control and on the Main display, and may be adjusted from 0 to 10 seconds. 9. Now sit back and watch your fader(s) open and close from the AFV event controller!

The Main display shows the progress of the event: the line for rise time is red as the fader rises; the line for on time is red while the event is on; the line for fall time is red as the fader falls. You may link as many channel or main faders to external events as you wish, providing flexible AFV control for individual and groups of faders.

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Chapter 2: Channel Control Mono Channel Operation

CHANNEL The CHANNEL area of the Central Control Section includes several sets of buttons for monitor channel control; mix minus activation; snapshot protection; module AFL; and meter pick up selection.

Monitor Channel Input Control The SND, SND RET and MIX buttons are only active on monitor channels and provide input source selection as follows: •

Press SND to monitor the track send to the recorder.

•

Press RET to monitor the track return from your recorder.

•

Press MIX to monitor a sum of both the send and return.

•

The IDP (Independent) button is reserved for future implementation.

•

The REC button is reserved for future implementation.

For more details on monitor channels and configuring the console for multitrack recording, please refer to Page 201.

Function Controls The TALK, TALK CORD and CONF buttons are used for mix minus activation as described on Page 117. The SNAP ISO button is used to isolate the channel strip from a snapshot recall. If a snapshot is recalled, all settings on the isolated channel remain unchanged. Note that a system option provides the ability to disable all SNAP ISO buttons across the console, see Page 419 for details.

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Chapter 2: Channel Control Mono Channel Operation

LISTEN Controls The LISTEN buttons are used to provide AFL monitoring for individual audio module within the Central Control Section.

Note that the selection of the Listen Latch mode in the System display sets latching or momentary operation, see Page 423. Pressing the KEY button allows you to AFL the dynamics sidechain. For example, you may wish to audition sidechain filtering applied to a compressor or AFL a channel pre the dynamics section: 1. Select KEY from the LISTEN buttons.

The button flashes.. 2. Touch any of the compressor controls.

You are now monitoring the compressor sidechain on your AFL bus; the Sidechain Filter SEL button illuminates to indicate this. 3. If LISTEN mode is sensing, the AFL cancels when you let go of the controls. Alternatively, if LISTEN mode is latching, deselect the KEY button, press ESC on the ACCESS CHANNEL/ASSIGN control panel or press CLEAR AFL/PFL to cancel AFL monitoring.

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Chapter 2: Channel Control Mono Channel Operation Operation The SNS SNS (sense) button is used to turn each module’s SEL button into its own AFL enable. For example to AFL the channel post EQ: 1. Press SNS from the LISTEN buttons.

The button flashes. 2. Now touch an Equaliser control.

You are now monitoring the output of the Equaliser section on your AFL bus. 3. If LISTEN mode is sensing, the AFL automatically cancels when you stop touching the control. Alternatively, if LISTEN mode is latching, deselect the SNS button, press ESC on the ACCESS CHANNEL/ASSIGN control panel or press CLEAR AFL/PFL to cancel AFL monitoring. Note that you may listen to any audio module within the Central Control Section except DAMP and DELAY. You cannot listen to a module, if AFL on a fader is already selected!

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Meter Pickup Points

The METER PICK UP buttons select the metering point for the Channel, Main and Metering displays. You may select from the Channel following: •

INP – meters the channel input (post the INMIX section).

•

SND – only active for monitor channels and meters the track send.

•

RET – only active for monitor channels and meters the track return.

•

PF – meters the pre fader signal.

•

AF – meters the post fader signal.

•

DIR – meters the direct output.

The meter pick up point may also be modified from the Channel Config display, please see Page 167 for details.

Congratulations! You have completed your tour of the Central Control Section. Before looking at the local channel strip controls, let’s look at how to create and work with stereo channels.

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Chapter 2: Channel Control Stereo Channels

Stereo Channels Stereo channels may be created from any two full or tiny processing DSP channels to create a stereo input, stereo group, stereo sum, stereo auxiliary, etc. The operation of a stereo channel is identical to that of a mono channel, with the following additional features: •

Stereo Balance and Input Control

•

Image Width and Positioning

•

Surround Panning of a Stereo Source

Creating a Stereo Channel You can create a stereo either from the IMAGE panel on the Central Control Section or from the Signals display. For more details on linking channels for from the Signals display, see Page 393. Here we will use the IMAGE panel: 1. Assign your desired channel to the Central Control Section by pressing its fader strip SEL button, or selecting a channel type and number from the ACCESS CHANNEL/ASSIGN control panel.

The CHANNEL and LABEL displays update to show the system name and label for the selected channel. 2. Locate the IMAGE controls on the Central Control Section:

3. Press the STEREO STEREO button.

This links the selected channel to its adjacent DSP path. For example, pressing STEREO STEREO on input channel 3 creates a stereo channel using input channels 3 and 4. To indicate that the channel is now stereo, you have stereo metering, a STEREO STEREO LED on the fader strip, a stereo indicator on the Main display and the Image section becomes active.

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Chapter 2: Channel Control Stereo Channels 4. To change a stereo channel back to mono, deselect the STEREO STEREO button:

The STEREO STEREO fader indicator goes out and the channel metering reverts to a mono bar graph. If the two mono channels used to create a stereo channel are present on the control surface, then the right hand channel (e.g. input 4) will disappear from the surface leaving a blank fader strip. If you unmake the stereo channel, and the blank fader strip is still available, then input 4 will return to the active surface. However, if you have assigned another channel to its old position, you will need to reassign input 4 to a different fader strip location. When a stereo channel is created, settings from the left channel are copied to the right and the two sides are automatically panned left and right for stereo operation. This means that if the stereo link is removed, the left and right mono channels now have identical settings except for panning which will still be set to -20 for the left channel and +20 for the right channel.

Viewing Left and Right Parameters on a Stereo Channel If you wish you can reassign the right hand side of a stereo channel (e.g. input 4) back to the control surface. For example, if you are using an external controller to adjust say the stereo input balance for the stereo channel, it is useful to see the settings for both the left and right sides. To do this, simply put the right side of the stereo channel into access (e.g. INP 4) and assign it to a fader strip – ideally, you would assign it to the left of INP 3! Now you be able to see the parameters for both INP 3 and INP 4 and view changes made by an external controller. Note that although the left and right sides are assigned to two fader strips, they will still operate as a linked stereo channel. In other words, when you move the left hand fader, the right hand fader moves with it; if you adjust the right hand EQ, the left hand EQ moves to. You cannot set offsets between the left and right hand sides.

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Chapter 2: Channel Control Stereo Channels

Stereo Stereo Input Settings When a channel is stereo, a number of additional controls become available from the INPUT MIXER control section: 1. Adjust the BAL control to set the Left/Right input balance for the stereo source.

The setting is displayed in the BAL box on the Main display. 2. Press the MONO button to sum the Left and Right inputs.

The mono indicator is selected on the Main display. 3. Press the

button to reverse the Left and Right inputs.

The left-right reverse indicator is selected on the Main display. Use this button to deal quickly with an incorrectly patched source signal. 4. Press or to reverse the phase of either the left or right input source.

The corresponding indicator is selected on the Main display. 5. Press either L>B (Left to Both) or R>B (Right to Both) to route either the left or right source to both sides of the stereo channel.

The L or R indicators are selected on the Main display. Use L>B and R>B to deal with situations where either the left or right source signal has disappeared during a live production. 6. Select M/S for sources recorded using sum and difference coding. Now use the Image Width and Position controls to adjust the stereo width and position of the source.

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Chapter 2: Channel Control Stereo Channels

IMAGE The IMAGE section of controls deals with image positioning and width on stereo channels, and also contains the STE (STEREO) button which may be used to create a stereo channel.

Image Control The Image controls adjust the position and width of the stereo channel and may be used in of two styles: •

New style - use the new style Image control when you want to retain the width of the stereo image but offset its position within the stereo field.

•

Old style - use the old style Image control when you want to collapse the width of the stereo image as you adjust its left/right position.

To adjust the controls: 1. Select the ON button to switch the Image section into circuit. 2. Use the STY button to switch between the new and old image styles.

As you toggle the STY button, the selected STYLE updates on the Main display – off = new style and on = old style. 3. First, let’s start with the new style which is active when the STY button is off. 4. Use the WIDTH control to widen or narrow the stereo image.

The IMAGE graph on the Main display updates to show your changes by narrowing or widening the blue image area. 5. Now adjust the POS control to move the narrowed or widened image within the stereo field.

Note how the image width is retained, and the red line on the Image graph moves as you adjust this control to represent the direction of the image control.

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Chapter 2: Channel Control Stereo Channels 6. Now switch to the old style by deselecting the STY button. 7. You may use the WIDTH control as before to narrow or widen the stereo image.

The IMAGE graph on the Main display updates to show your changes by narrowing or widening the blue image area. Be careful not to widen the stereo image too far to avoid phasing problems. 8. Now adjust the POS control to collapse the stereo image from its current width to either the left or right sides of the stereo field.

Note this time how the stereo width collapses as indicated by the narrowing blue area on the IMAGE graph.

Panning from a Stereo Channel The channel panning controls on a stereo channel behave in a very similar fashion to a mono channel, allowing you to pan a stereo channel in surround when routed to a surround bus destination. The only difference in control is that the L/R pan control now adjusts the left/right balance of the stereo channel.

Joystick Panning When assigned to a stereo channel, the joystick operation is very similar to a mono channel with one exception: X-axis movement of the joystick adjusts the left/right balance of the stereo channel.

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Chapter 2: Channel Control The Channel Fader Strip

The Channel Fader Strip The mc266 channel sections are presented as a series of physical ‘fader strips’, each providing: •

Channel display feedback on assignments and source names.

signal

metering,

bus

•

Dedicated rotary control and buttons for input gain settings.

•

Four assignable ‘Free Controls’ and access buttons providing local channel control of EQ, Panning, Dynamics, Aux Sends, etc.

•

Four programmable ‘soft’ keys configured either for communications functions (broadcast) or recorder control (production).

•

SEL button for assignment operations.

•

Fader cassette with an 8-character label display, group assignment display and AFL, PFL, mute and layer access buttons.

Let’s look at each section in more detail.

Channel Display For every channel strip, the Channel display provides metering and feedback on inputs, outputs and local parameter values. For more details on this display, please refer to Page 74.

Input Control The upper rotary control and buttons on the channel fader strip are dedicated to providing input control for the channel. You will be presented with a slightly different set of controls depending on the type of input board your source is connected to (Line, Mic/Line or Digital). Also note that depending on the hardware configuration of your DALLIS input card(s), gain ranges may vary. Please refer to the DALLIS I/O technical data for details.

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Chapter 2: Channel Control The Channel Fader Strip Strip

For a line level analogue source: source: 1. The LINE button is automatically selected. 2. Use the rotary control to remotely set the analogue gain prior to the A-D conversion.

The gain range is normally adjusted from -7dB to 20dB, although this may vary depending on your hardware configuration. 3. Press the high pass filter button to insert an analogue subsonic filter prior to the A-D conversion. Toggle the button to cycle through the filter roll-off frequency options: Off, 40Hz, 80Hz and 140Hz.

The 40, 40 80 or 140 Hz button changes colour from off to green, yellow and then red respectively. Note that the 48V, 48V LINE and PAD buttons are inactive for a line level source.

For a remote microphone preamplifier source: On Mic/Line input cards, the source may be switched to provide microphone preamplifier control as follows. 1. Deselect the LINE button, and the following settings become available: 2. Use the GAIN control to remotely set the microphone preamplifier gain within the analogue domain prior to the AD conversion.

The gain range is normally adjusted from 0dB to 70dB, although this may vary depending on your hardware configuration. 3. Press the 48V button to select 48V phantom power. 4. Press the high pass filter button to insert an analogue subsonic filter prior to the A-D conversion. Toggle this button to cycle through the filter roll-off frequency options: Off, 40Hz, 80Hz and 140Hz.

The button changes colour to indicate the selected frequency green (40Hz); yellow (80Hz); red (140Hz). 5. Press PAD to insert the 20dB PAD.

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For a digital input source: When any type of digital source is routed to the channel, input gain is controlled in the DSP domain: 1. Use the GAIN control to set the digital input gain.

The gain setting is displayed in the GAIN box on the Main display. Gain may be adjusted from -20dB to +15dB. Note that the 48V, 48V LINE, LINE PAD and filter buttons are inactive for a digital input source.

A/B Input Switching For any input or monitor DSP channel, you may assign a back up source (B) from the Signals display. For example, you may assign the main wireless mic for your presenter to INP 1 source A, and a spare mic to INP 1 source B. You can then switch quickly from A to B during the show if the first mic fails: 1. Press the B button to switch to the B source. 2. Press the A button to return to source A.

On the Channel display, each input or monitor channel is shown with either an A or B pre-fix to indicate the current source. Sources are assigned to the A and B inputs from the Signals display, see Page 390 for details. Note that if there is no source assigned to B input, then the B button will switch the channel to silence.

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Chapter 2: Channel Control The Channel Fader Strip

Free Controls Next on the channel fader strip are the four assignable Free Controls (FC) and six module on/off buttons. These provide local channel access to settings such as EQ, Panning, Dynamics, Auxiliary Sends, etc. Each control is touch sensitive and when turned provides fine control. Push down and rotate the control for coarse adjustment of a parameter value. Each control also has its own dedicated 4-character alphanumeric display. The normal mode shows the parameter function (e.g. EQ1G – EQ Band 1 Gain) until the control is touched; the display then updates to show the parameter value (e.g. +12). +12 For more details on alternate free control views, see Page 230. There are two ways to assign functions onto the free controls: •

Controls may be paged globally through each set of processing functions using the FC PRESET buttons located in the centre section of the console. This is great way to access all of your settings (e.g. Panning, EQ Band 1, etc.) across the console.

•

Controls may be assigned on an individual control basis using the channel PARAMETER COPY/ASSIGN buttons located in the centre section of the console. For example, you may wish to assign Left/Right Pan, EQ Band 1 Gain, Auxiliary 1 Send Level and Auxiliary 2 Send Level onto the four free controls on an individual channel.

Note that the global FC PRESET and local individual channel assign buttons only temporarily override the current set up, meaning that you will always return to any custom configurations when you deselect these modes. Let’s look at the methods for assigning the free controls, starting with the FC PRESET section:

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Chapter 2: Channel Control The Channel Fader Strip

FC PRESETs The four fader strip free controls are assigned globally using the FC PRESET buttons located to the left of the Central Control Section. Note that the ENABLE ENABLE button and the four buttons to the right of it are reserved for future implementation.

Controls are mapped, wherever possible, in an identical layout to the Central Control Section. In addition, each free control has its own 4-character display showing the name of the parameter (e.g. EQ1G – EQ Band 1 Gain) which is currently assigned. For nearly all FC PRESET buttons, there are two pages of controls accessed by pressing the PAGE 2 button. For example, to access Gain, Frequency and Q for the equaliser and filter sections: 1. Check that the PAGE 2 button is off. 2. Press the EQ 1/FI 1 FI 1 button.

Working up the channel, the four free controls are assigned to On/Off, Gain, Frequency and Q for band 1 of the Equaliser section. The value of the parameter is shown in the 4-character display below the control as it is adjusted. When using the free controls, they default to provide fine adjustment. To adjust settings coarsely, push down and rotate the control. If a control is assigned to a switched function, such as EQ On/Off, turn the rotary control clockwise to activate the function (EQ On) and anticlockwise to deactivate the function (EQ Off).

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Chapter 2: Channel Control The Channel Fader Strip 3. Now press the EQ 2/SCF 2 SCF 1, 1 EQ 3/SCF 3 SCF 2 or EQ 4/F 4 F I2 buttons to access equaliser bands 2 to 4 in a similar fashion.

4. Turn on the Page 2 button and now use the same row of FC PRESET buttons to access the Filter bands (EQ EQ 1/FI 1 FI 1 and EQ 4/FI EQ 2/SCF 4 FI 2) 2 or Sidechain Filter bands (EQ 2 SCF 1 and EQ 3/SCF SCF 2). 2 5. Deselect the FC PRESET button to return the free controls to their previous configuration. The remaining FC PRESET buttons work in a similar fashion, providing access to the following control sets:

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Dynamics (GATE GATE, GATE EXP, EXP COM and LIM). LIM GATE, EXP, COM, LIM

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CF1..4/CF5..8 CF1..4 CF5..8 – reserved for future implementation. CF1..4, CF5..8

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Audio Follow Video set up functions (AFV AFV). AFV AFV

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Panning Controls (PAN PAN). PAN PAN

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Auxiliary Sends 1-32 (AUX1..4 AUX1..4, AUX5..8 etc.) AUX1..4, AUX1..4 AUX5..8, AUX5..8, etc.

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MISC – accesses the DAMP (Digital Amplifier Gain), DLY (Delay Time), SND (Insert Send Level) and DOUT (Direct Output Level) controls. MISC

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DEF – recalls a default free control configuration. This is programmed in the system configuration, and is recalled when the console boots up, prior to a snapshot load.

•

USER 1 and USER 2 - recall two user configurable free control configurations, also programmed in the system configuration.

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Chapter 2: Channel Control The Channel Fader Fader Strip

Parameter Assign The second way to assign free controls is used when you wish to configure controls on an individual basis. For example, on one channel you may wish to have control of Pan L/R and EQ Band 1 Gain, Frequency and Q, while on a different channel you would like Pan L/R and Compressor Threshold, Ratio and Gain. This type of assignment is made from the channel PARAMETER COPY/ASSIGN buttons located in the centre section of the console.

For example, to assign EQ Band 1 Gain onto the first free control on fader strip 1: 1. Press the ONE button, located on the PARAMETER COPY/ASSIGN control panel, to activate a one-shot assignment.

The ONE button flashes to indicate that parameter assign is now active. 2. Touch the rotary encoder you wish to assign on the Central Control Section. In this example, select the EQ DISP button to assign EQ onto the SCF/FILTER/EQUALISER controls and touch the Gain control on the left of the panel.

The EQG1 control is placed into the Parameter clipboard as indicated on the CLIPBOARD display. 3. Now touch the free control on the destination channel strip. In this case, the first free control on channel fader strip 1.

The assignment is made, as indicated in the alphanumeric display around the free control, and the ONE button automatically cancels.

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Chapter 2: Channel Control The Channel Fader Strip When you wish to assign more than one control at a time, you can use the MLT button to latch the parameter assign mode. This saves you having to reselect the ONE button before each assignment. 1. Press the MLT button, located on the PARAMETER COPY/ASSIGN control panel, to activate multiple assignments.

The MLT button flashes to indicate that parameter assign is now active. 2. Select the rotary control you wish to assign by touching it on the Central Control Section.

The control is placed into the Parameter clipboard as indicated on the CLIPBOARD display. 3. Now you may touch as many free controls across the surface as you wish.

The CLIPBOARD control is assigned onto the free controls as indicated in their alphanumeric displays. 4. When you are finished, remember to deselect MLT or press the ESC button, on the ACCESS CHANNEL/ASSIGN control panel, to exit from the parameter assign mode. If you don’t the next time you touch a channel free control, you will re-assign it!

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Chapter 2: Channel Control The Channel Fader Strip Alternatively, you may assign a parameter to the same free control position across all fader strips for a certain channel type. For example, to place L/R Pan across the first free control on all INPUT fader strips: 1. Press the ALL button located on the PARAMETER COPY/ASSIGN control area.

Notice that this automatically selects the ONE button for a oneshot assignment. If you wish to make multiple ALL assignments select MLT instead of ONE. ONE 2. Select the rotary control you wish to assign by touching it on the Central Control Section. In this example, touch the L/R Pan control.

PANX (Pan L/R) is placed into the Parameter clipboard as indicated on the CLIPBOARD display. 3. Now choose the type of channel which you wish to copy to from the ACCESS CHANNEL/ASSIGN panel – for example, press INPUT: INPUT

You can select multiple channel types if you wish – e.g. press INPUT, GRP and SUM to assign the free control across all input, INPUT group and sum channels. 4. Now touch the first free control on any INPUT fader strip.

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Chapter 2: Channel Control The Channel Fader Strip PANX is assigned to the first free control across all INPUT channel strips on the current control surface layer.

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Chapter 2: Channel Control The Channel Fader Strip When working in ONE shot mode, parameter assign automatically cancels. However, if you are working in multiple assignment mode, remember to deselect MLT or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit parameter assign. Note that Free Control assignments relate to the DSP channel. Therefore, if you assign the same channel to another fader strip or bank, you will have the same Free Control assignments when you access this fader. Free Control parameter assignments are stored in the snapshot.

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Chapter 2: Channel Control The Channel Channel Fader Strip

Local Section On/Off Functions The first four buttons (EQ EQ, EQ PAN, PAN DEL and COM) COM below the free controls act as on/off buttons for the signal processing sections. This provides dedicated on/off control for critical processing sections from all fader strips across the control surface: 1. Press the EQ button to switch the 4-band equaliser section on or off. 2. Press the PAN button to switch the channel panning in or out of circuit. 3. Press the DEL button to switch the channel delay in or out of circuit. 4. Press the COM button to switch the compressor section in or out of circuit.

Local Bank and Layer Switching The BNK1 BNK1, BNK2, BNK2 BNK3, BNK3 BNK4, BNK4 BNK5, BNK5 BNK6 and FLIP buttons located on each 8-fader bay provide local bank and layer switching. See Pages 179 and 180 for details.

Fader Bay Isolate (ISO) The fader bay ISO button is used to isolate any 8-fader bay from the main console’s bank/layer switching and AFL/PFL monitoring. This is ideal when working with more than one engineer, as each engineer can have independent control surface switching and AFL/PFL monitoring. See Page 184 for more details.

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Chapter 2: Channel Control The Channel Fader Strip

Broadcast or Production Soft Keys Below the free controls you will find four programmable soft keys. Depending on the specification of your console, these will be configured for one of two applications:

CORD, CONF and TALK – Broadcast Soft Keys On a live broadcast console, the buttons are engraved for mix minus functions - CORD, CORD CONF and TALK. TALK 1. Press the CONF button to activate the mix minus (N-1) output for that channel. 2. Press CORD to activate a conference-style auxiliary send. 3. Depending on your talkback configuration, the TALK button on each fader strip may be used to talk to the mix minus. Please refer to Page 114 for full details on mix minus operation.

SND, RET and REC – Production Soft Keys Alternatively, on a recording console, the buttons are engraved for recorder control - SND, SND RET and REC - and are active on monitor channels only: 1. Press the SND and RET buttons to switch the input of the monitor channel between the recorder send and recorder return. SND RET 2. The REC button is reserved for future implementation. For more details on how to configuring the console for multitrack recording, please refer to Page 201.

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Chapter 2: Channel Control The Channel Fader Strip

Snapshot Isolate (SNAP ISO) On both Broadcast and Production configurations, the SNAP ISO button is used to isolate the channel strip from a snapshot recall. If a snapshot is recalled, all settings on the isolated channel remain unchanged.

Use SNAP ISO to isolate your main presenter channels and other key feeds when using snapshots to recall different mixes during a live production. Please refer to Chapter 6 for more details on using snapshots. Note that a system option provides the ability to disable all SNAP ISO buttons across the console, see Page 419 for details.

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Chapter 2: Channel Control The Channel Fader Strip

Fader SEL Button The fader SEL button is used to put a channel into access and to perform assignments. 1. Press the SEL button on any fader strip.

On the Central Control Section, controls update to reflect the new channel settings, and within the ACCESS CHANNEL/ASSIGN control panel, the CHANNEL and LABEL displays update to show the name and label for the selected channel:

Please see Page 17 for details on the ACCESS CHANNEL/ASSIGN control panel.

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Chapter 2: Channel Control The Channel Fader Strip

Fader Label Display Below the fader SEL button, you will find a 4-character alphanumeric display which displays names for your fader strips. The display may be switched between: •

System Name – this is the name of the DSP channel assigned to the fader strip (e.g. INP1) INP1

•

Channel Label – this is a programmable user label given to the DSP channel.

•

Source Label – this is a programmable user label given to the Source which is routed to the DSP channel.

Note that each name is shortened to 4 characters – for example, input channel 1 is displayed as INP1; INP1 input channel 11 as IN11; IN11 input channel 101 as I101. I101 For more details on how to change and program Channel and Source Labels, please see Page 397.

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Chapter 2: Channel Control Control The Channel Fader Strip

Fader, Mute and AFL/PFL Controls 1. The channel fader is a touch sensitive fader providing gain control from –128dB to +15dB.

As you adjust the fader position, the gain may be shown in the fader label display. Note that this option can be disabled from the System display, see Page 423 for details. 2. Press the MUTE button to mute the channel. Note that the Mute button may be set to one of two options from the System display, see Page 420: •

Fader Mute – mutes post fader signals. Use this option when you wish to mute post fader signals but not pre fader signals such as the auxiliary pre fader sends.

•

Channel Mute – mutes post fader signals, the insert send and the output of the INMIX section. Use this option when you wish to mute both pre and post fader signals.

In addition, mute buttons may be disabled to prevent accidental muting of channels, see Page 419 for details. 3. Press AFL to listen to the post fade channel signal. 4. Press PFL to listen to the pre fade channel signal. Depending on your monitoring configuration, AFL and PFL signals may appear on the Control Room 1, Control Room 2 or external monitor speakers. In addition, you may have access to AFL to Mains and PFL to Mains switching from the 24 programmable Control Room Monitoring panel buttons. These settings are programmed within the factory configuration; please refer to your console’s specification for details. Note that a number of options may be set for AFL, PFL and Soloin-Place within the System display, see Page 432 for details. Both PFL and AFL are stereo busses, enabling you to listen and pan a channel pre fader before sending it to the mix. In addition, depending on your DSP configuration, the AFL bus may be multichannel, enabling you to listen non-destructively to your surround mix.

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Chapter 2: Channel Control The Channel Fader Strip

Fader Meter and Status Indicators Beside the fader, you will find a confidence level meter. This

always meters the channel input level (the output of the INMIX audio module). In addition, a number of status indicators provide the following feedback:

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AUT – shows that automation is enabled.

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STE – indicates that the channel is stereo.

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C/L – shows that the compressor or limiter is active; lights when gain reduction occurs.

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G/E – shows that the gate or expander is active; lights when gain expansion occurs.

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LNK – indicates that the channel is linked to another channel on the console, see Page 224 for details.

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OVR – indicates an overload at the channel input. Note that the overload threshold may be adjusted from the System display, see Page 428 for details.

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Chapter 2: Channel Control The Channel Fader Strip

VCA Group Assignment Display The figure of eight display beside the fader is used to indicate VCA grouping assignments. The console can support up to 16 VCA group masters. Note that the single figure of eight display indicates grouping assignments as follows: •

VCA 1 to 8 – are indicated by a single number - 1 2 3 etc.

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VCA 9 – displayed as 1.

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VCA 10 – displayed as 2.

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VCA 11 – displayed as 3.

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VCA 12 – displayed as 4.

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VCA 13 – displayed as 5.

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VCA 14 – displayed as 6.

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VCA 15 – displayed as 7.

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VCA 16 – displayed as 8.

For more details on making VCA assignments, please see Page 221.

Layer Access and Automation Control The final two buttons on the fader cassette provide access to layer switching and automation control: 1. Press the 2nd button to toggle the channel strip between channels assigned to Layer 1 and Layer 2.

When you select the 2nd button the fader position and all controls update to reflect the settings for the second layer. Note also that the name and label boxes on the Channel display reverse positions to indicate that the 2nd layer is now on the active control surface. You can use these displays to see the name and label for the source which will appear when you press the 2nd button. If there is no channel assigned to the second layer, then you will switch to a blank fader strip when you press the 2nd button. 2. The R/W button provides dynamic automation Read/Write access. See Chapter 6 for further details.

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Chapter 2: Channel Control Copying Channel Parameters

Copying Channel Parameters The PARAMETER COPY/ASSIGN buttons, located within the central control section, may be used to copy channel processing, bus assignments, channel signal flow configuration and/or fader strip free control assignments between channels. Individual or groups of settings may be copied to single or multiple destinations.

Copying to a Single Channel For example, to copy an EQ setting between two channels: 1. Assign the source channel to the Central Control Section, either by pressing its fader SEL button or entering the channel type and number from the ACCESS CHANNEL/ASSIGN control panel. 2. Press the COPY button, located on the PARAMETER COPY/ASSIGN panel.

This automatically activates the ONE button for a one-shot copy assignment and all the fader SEL buttons across the console flash, in green, to indicate possible destinations:

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Chapter 2: Channel Control Copying Channel Parameters 3. On the Central Control Section, select the audio module you wish to copy, in this example the EQ section, by pressing the SEL button above EQ ON: ON

4. Now select the channel you wish to copy to by pressing its fader SEL button.

The 4-band EQ setting is copied, and the COPY function automatically cancels. 5. If you wish to exit the copy mode without copying any settings, just deselect the COPY button or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, at any point during the operation. Note that the CLIPBOARD on the PARAMETER COPY/ASSIGN panel is only active for assigning parameters, therefore you will not see the clipboard update when performing a copy operation.

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Chapter 2: Channel Control Copying Channel Parameters If you wish to copy more settings than just the EQ, then select multiple SEL buttons from the Central Control Panel during step 3. Channel sections are selected using the SEL buttons as follows:

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INPUT MIXER – all input settings.

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IMAGE – stereo image and position.

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DAMP - digital amplifier gain.

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DELAY– channel delay.

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INS – channel insert.

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DIROUT – direct output.

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GATE – gate.

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EXPANDER – expander.

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SCF – sidechain filter settings.

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FILTER – 2-band filter settings

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EQ – 4-band EQ settings.

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COM – compressor.

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LIMITER – limiter.

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PANNING – surround panning.

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MUTE SEL – status of the mute button.

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Fader SEL – the fader position.

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Chapter 2: Channel Control Copying Channel Parameters You can also copy other channel parameters using the following buttons on the PARAMETER COPY/ASSIGN panel: •

CH - selects the channel signal processing order as set on the Channel Config display.

•

BUS - selects the channel’s bus assignments.

•

STRP - selects the fader strip’s Free Control assignments.

To select all settings for a channel, press the SEL ALL button above the fader SEL button. By deselecting SEL buttons, you may then edit the selection to copy a subset of parameters. Note that every time you re-enter the copy mode, the last selections made from the SEL buttons are retained. To clear down all the selections: 1. Press the SEL ALL button above the Central Control Section Fader to select all audio modules. 2. Then deselect SEL ALL. ALL

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Chapter 2: Channel Control Copying Channel Channel Parameters

Copying to Multiple Channels You may copy the same parameters to multiple channels by latching the Copy Parameter mode using the MLT button: 1. Assign the source channel to the Central Control Section either by pressing its fader SEL button or using the ACCESS CHANNEL/ASSIGN control panel. 2. Press COPY and MLT COPY/ASSIGN control area.

from

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PARAMETER

This activates the multiple copy mode and all the fader SEL buttons across the console flash, in green, to indicate possible destinations.

3. On the Central Control Section, select the audio module(s) you wish to copy. For example, select all audio modules by pressing the SEL ALL button. 4. Now you may press multiple destination fader SEL buttons to copy the settings to as many channels as you like. Note that you may edit your source channel selection without exiting the copy mode by pressing the NEXT or PREV buttons on the ACCESS CHANNEL/ASSIGN control panel. When you are finished, remember to deselect COPY or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit from the parameter copy mode. If you don’t the next time you press a fader SEL button, you will be copying parameters to that channel!

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Chapter 2: Channel Control Copying Channel Parameters Alternatively, to copy parameters to all channels of a particular type (for example, to copy a limiter setting across all groups): 1. Assign the source channel to the Central Control Section either by pressing its fader SEL button or using the ACCESS CHANNEL/ASSIGN control panel. 2. Press COPY and ALL COPY/ASSIGN control area.

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PARAMETER

This automatically selects the ONE button for a one-shot copy, and all the fader SEL buttons across the console flash, in green, to indicate possible destinations. If you wish to make multiple ALL copies select MLT instead of ONE. ONE 3. On the Central Control Section, select the audio module(s) you wish to copy. For example, by pressing LIM and SEL from the COM/LIM section. 4. Now use the ACCESS CHANNEL/ASSIGN control panel to select the type(s) of DSP channel you wish to copy to. In our example, you would press GROUP, GROUP but you may select any or all types from: •

INPUT – Input channels.

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MON – Monitor channels.

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AUX – Auxiliary masters.

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GPC – for future implementation.

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GROUP – Group masters.

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SUM – Main sum masters.

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VCA – VCA masters.

Note that you may not select TRACK, MAIN or STRP in this mode as these are not valid DSP channel types. 5. Press the illuminated Enter button on the ACCESS CHANNEL/ASSIGN control panel to complete the copy operation.

The limiter setting is copied to all group channels. 6. If you selected the MLT button to perform multiple copies, remember to deselect COPY or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit from the parameter copy mode.

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Chapter 2: Channel Control Resetting Channel Parameters

Resetting Channel Parameters Parameters The RESET button, located on the PARAMETER COPY/ASSIGN panel, may be used to reset channel parameters to their default values. This operation works in a similar manner to copying parameters. Note that as we are not copying from a source to a destination channel, any channel may be assigned to the Central Control Section. 1. Press the RESET button, located on the PARAMETER COPY/ASSIGN panel.

This automatically activates the ONE button for a one-shot reset assignment and all the fader SEL buttons across the console flash, in green, to indicate possible destinations:

If you wish to perform multiple resets select MLT instead of ONE. ONE 2. On the Central Control Section, select the audio module(s) you wish to reset by pressing the SEL buttons for the control section(s). 3. Now select the channel you wish to reset to by pressing its flashing fader SEL button.

The channel section is reset. 4. If you selected the MLT button to perform multiple reset operations remember to deselect RESET or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit from the parameter reset mode.

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Chapter 2: Channel Control Resetting Channel Parameters As with the copy function, you may also reset parameters for all channels of a certain DSP type (for example, to reset all your mute buttons to off across all input and monitor channels): 1. Press RESET and ALL COPY/ASSIGN control area.

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PARAMETER

This automatically activates the ONE button for a one-shot assignment and all the fader SEL buttons across the console flash, in green, to indicate possible destinations. If you wish to perform multiple resets select MLT instead of ONE. ONE 2. On the Central Control Section, select the audio module(s) you wish to reset. For example, by pressing the SEL button beside the mute button. 3. Now use the ACCESS CHANNEL/ASSIGN control panel to select the type(s) of DSP channel you wish to copy to. In our example, you would press INPUT and MON but you may select any or all types from: •

INPUT – Input channels.

•

MON – Monitor channels.

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AUX – Auxiliary masters.

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GPC – for future implementation.

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GROUP – Group masters.

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SUM – Main sum masters.

•

VCA – VCA masters.

Note that you may not select TRACK, MAIN or STRP in this mode as these are not valid DSP channel types. 4. Press the illuminated Enter button on the ACCESS CHANNEL/ASSIGN control panel to complete the copy operation.

The mute buttons across all input and monitor channels are turned off, and if one-shot (ONE ONE) ONE was used, the reset mode is automatically cancelled. 5. If you selected the MLT button to perform multiple reset operations remember to deselect RESET or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit from the parameter reset mode.

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Chapter 2: Channel Control Metering

Metering There are several places where channel signals are metered:

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The Channel display provides dedicated metering for every channel fader strip. The meter may be switched to different points within the signal flow, and will be mono or stereo according to the channel format.

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The fader meter is a confidence level meter. This always meters the channel input level (the output of the INMIX audio module).

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The Main display includes a meter, and follows the same options as applied to the Channel display.

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The Main display also includes input and output metering for each dynamics module – Gate, Expander, Compressor and Limiter.

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In addition, the Metering display contains four pages of assignable meters to provide an overview of key channels: inputs, monitors, groups, auxes and/or main sums.

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Chapter 2: Channel Control Metering

The Metering Display Display 1. Press the METER button, located on the SCREEN CONTROL panel, to view this display now:

Note that each time you press the METER button you cycle through four pages of assignable meters. The current page is always highlighted at the top – in our example, page 1 of 4. The default layout follows the default DSP channel configuration of your console; for example, the first pages will show Input Channels 1 to n; subsequent pages will show Monitor Channels 1 to n, etc. You can programme any DSP channel onto any of the meters in any page: 2. Select the meter you wish to assign, either by using the trackball or pressing the SEL soft key and left/right navigation buttons.

The selected meter is highlighted by the dotted black and white focus outline. 3. Now choose the DSP channel you wish to meter by placing it access from the ACCESS CHANNEL/ASSIGN control panel or fader strip SEL button. 4. Press the ASGN soft key to assign the channel to the selected meter.

The meter label updates to show the new assignment. 5. To remove an assignment from the selected meter so that it shows as blank, press the CLR soft key. Meter assignments are saved within the production.

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Chapter 2: Channel Control Metering

Meter Pickup Points The metering point on the Channel, Channel Main and Metering Metering displays may be selected from the front panel using the CHANNEL: METER PICK UP buttons on the central control section:

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INP – meters the channel input (post the INMIX section).

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SND – only active for monitor channels, and meters the track send.

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RET – only active for monitor channels, and meters the track return.

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PF – meters the pre fader signal.

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AF – meters the post fader signal.

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DIR – meters the direct output.

Alternatively, the metering point may be altered from the Channel Config display. See Page 167 for details.

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Chapter 2: Channel Control Metering

Meter Scales Scales A range of meter scales and characteristics are available for the Channel, Channel Main and Metering displays including: •

PPM – Peak metering, 10ms attack time and 1.5s release.

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SMPL – Sample accurate peak metering, 0ms attack time and 1.5s release.

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FAST – Fast response peak metering, 1ms attack time and 1.5s release.

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VU – RMS metering, 300ms attack and 300ms release.

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DIN – DIN PPM scale, conforming to IEC 268-10.

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UK – UK PPM scale, conforming to IEC 268-10 IIA.

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NORD – NORDIC PPM scale, conforming to IEC 268-10 I.

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dBFS – digital meter scale with options to colour code the meters.

The selection is made from the System display and affects all metering globally across the console. Please see Page 429 for details.

Peak H Hold old Also from the System display, see Page 430, you can enable the peak hold facility which monitors and marks the peak level reached on each meter across the console:

Options are available to clear the peak hold indicator automatically after a certain time period, or manually using the CLEAR peak hold soft key. You can also set the colour for the peak hold indicator.

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Chapter 3: Console Configuration Introduction

Chapter 3: Console Configuration Configuration Introduction In this chapter we will cover how to configure the signal flow and control surface layout for the console. Together these concepts allow you to configure as many input channels, monitor return channels, track busses, groups, main sums and auxiliary sends as the production requires, and then assign these elements across the console’s fader strips as you desire. First, let’s take a closer look at signal flow through the console.

Signal Flow Concepts The mc266 uses a very simple, yet flexible, approach to signal flow. The console provides two basic types of DSP channel - full processing and reduced processing (Tiny channels) – which are applied to input channels, monitor return channels, group masters, main sums and auxiliary masters according to your choice of DSP configuration. This allows you to choose a configuration which provides enough of the right resources for the production. For example, a live production may require lots of input channels, groups and auxiliary sends but no monitor returns, while a recording session requires both input and monitor return channels but perhaps less processing on auxiliary outputs. This also means that group and auxiliary masters using full processing channels are treated in exactly the same way as input channels, with signal processing (EQ, Dynamics, etc.) and the ability to re-assign busses to other outputs (for example, to assign a group master onto an auxiliary send.) Assign a bus master onto the control surface, as described later in this chapter, and then control EQ, Dynamics, etc, in the same way as on an input channel. The number of full and reduced processing channels, and their configuration, is determined by three factors – the hardware specification of the console, the choice of sampling rate and your choice of DSP configuration. For more details on sample rate selection and DSP configurations, please refer to Page 171. Otherwise read on to learn more about channel signal flow, signal processing order and configuring surround outputs.

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Chapter 3: Console Configuration Channel Signal Flow

Channel Signal Flow Depending on your hardware specification and choice of DSP configuration, your console will have a number of input and monitor return channels, groups, main sums and auxiliaries, some configured with fully featured audio processing and others with reduced audio processing (otherwise known as Tiny channels).

Fully Featured DSP Channels Every fully featured DSP channel includes all of the following audio modules, except where noted: IN MIX – input gain, phase and stereo input control. (Available on Input and Monitor channels only; not applicable to Group, Sum or Auxiliary master channels.) DIGIAMP – digital gain trim. FILTER - 2-band filter/equaliser section. EQ - 4-band equaliser section offering a choice of characteristics. INSERT – insert send and return for outboard processing. The insert send is always active providing an additional send, with level control, which may be taken from any point in the signal flow. DELAY - delay of up to 1800 ms adjusted in frames, ms or meters. EXPAND, GATE, COMP and LIMITER - four independent bands of dynamics which may be placed at any position in the signal flow, including the direct output as shown in our example opposite. IMAGE – controls the image for a stereo channel. (Not active on mono channels.) TRACK SWITCH – send and return switching. (Applicable to monitor return channels only.) FADER – fader level, mute and AFL/PFL monitoring. METER – indicates the channel’s meter pickup point. BUS – bus and pan assignments to groups, sums and track busses. DIROUT – the direct output which may be positioned freely within the signal path. (Not available on monitor return channels.) In addition, not shown on the Channel Config display, are the channel’s 32 auxiliary sends which may be switched pre EQ, pre fader, or post fader.

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Chapter 3: Console Configuration Channel Signal Flow

Reduced (Tiny) (Tiny) DSP Channels Reduced processing channels are ideal for outputs such as auxiliaries which do not require full signal processing, or inputs from a sub mixer which have already been processed. Note that only input channels, auxiliaries and sums may be configured as tiny channels; groups and monitor channels are always configured with full audio processing. Every Tiny DSP channel includes the following audio modules: INput – source assignment. IN FADER – fader level, mute and AFL/PFL monitoring. BUS – bus and pan assignments to groups, sums and track busses. DIROUT – the direct output which can be positioned freely within the signal path. AUX – auxiliary sends which can be pre EQ, pre fader, or post fader for up to 32 auxiliary sends.

Fader Mute Options Note that the fader strip MUTE button may be set to one of two options from the System display, see Page 420:

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•

Fader Mute – mutes post fader signals. Use this option when you wish to mute post fader signals but not pre fader signals such as the auxiliary pre fader sends.

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Channel Mute – mutes post fader signals, the insert send and the output of the INMIX section. Use this option when you wish to mute both pre and post fader signals.

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Chapter 3: Console Configuration Channel Signal Flow

Changing the Signal Processing Order Order The Channel Config display shows the signal flow for the channel in access. With the exception of the IN MIX and BUS assignment sections, which are always first and last within the signal flow, audio modules may be positioned in any order in the chain. To interrogate the signal processing order for a channel: 1. Assign your desired channel to the Central Control Section by pressing its fader strip SEL button, or selecting a channel type and number from the ACCESS CHANNEL/ASSIGN control panel. 2. Press the CHAN/CONFIG button, located on the centre section SCREEN CONTROL panel, to select the Channel Config display:

Note that each time you press the CHAN/CONFIG button you toggle between two pages – the Main display and Channel Config. Config The current page is always highlighted at the top of the display – in our example, page 2 of 2. This display shows the order of the audio processing modules for the channel in access. Note that the display will vary according to whether you are accessing a full or tiny DSP channel. The above example shows a full processing channel. As on the Main display, audio modules shown in grey are switched off and those shown in green are switched on.

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Chapter 3: Console Configuration Channel Signal Flow To change the signal processing order for the selected channel: 1. Using the trackball, select the audio processing module you wish to move.

The selected module, for example LIMITER, LIMITER is highlighted by the black and white dotted focus outline. 2. Use the soft keys to move the selected module as follows: •

UP and DOWN – moves the module up or down within the main channel signal path.

•

LEFT and RIGHT – moves the module into or out of the Direct Output path.

The display updates to follow your changes. 3. Repeat steps 1 and 2 until you happy with the signal flow order. You cannot move the position of the INMIX or BUS modules. For stereo channels, you move modules for the left and right sides of the channel simultaneously. For monitor channels, the LEFT and RIGHT soft keys move the selected module to the track bus signal path.

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Chapter 3: Console Configuration Channel Signal Flow

Dynamics Hard/Soft Knee Selection If you select the COMP or LIMITER audio module, the four soft keys, located on the SCREEN CONTROL panel, update to allow you to change the knee of the compressor or limiter between hard or soft operation:

1. Press the SET soft key and then use the rotary control to select between hard and soft knee operation.

The display updates to follow your selection. The ExtKey fields are reserved for future implementation.

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Chapter 3: Console Configuration Channel Signal Flow

Changing the Meter Pick up Point If you select the METER audio module, the four soft keys, located on the SCREEN CONTROL panel, update to allow you to change the channel metering point for the meter on the Channel and Main Displays: Displays

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IN – meters the channel input (post the INMIX section).

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PRE – meters the pre-fader signal.

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BUS – use this to meter the input to the BUS assign module (post fader and post processing).

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DOUT – meters the direct output.

The meter pickup point may also be selected from the Central Control Section, see Page 125 for details.

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Chapter 3: Console Configuration Channel Signal Flow

Configuring Surround Outputs Group and Sum output channels may be configured for either of the following options: •

2-Channel - an odd/even pair of sum or group channels may be configured as 2-channel to provide independent master controls for the left and right sides of a stereo output. This offers an alternative to creating a stereo group or sum channel where the master channel is then controlled from a single stereo fader strip. In both cases, channels assigned to the group or sum are panned with a left/right pan law.

•

Surround – a number of sums or groups may be configured for surround operation such that send channels are assigned with a surround pan format. A variety of surround formats are offered to include 5.1 and 7.1 panning options. In each case, the master channels retain independence so that, for example, you can set independent LCRLsRs levels, EQ, etc. To link the group or sum master channel controls, use module linking as described on Page 224.

Note that when configuring outputs for surround operation, you must first select the surround format you wish to use from the System display. For example, to set up a 5.1 sum master output, first select 5.1 as the console’s surround format, see Page 420 for details, and then configure the sum master channels for surround operation as follows: To configure the sum or group output: 1. Put the first sum or group channel you wish to configure into access, either by pressing its fader strip SEL button, or selecting a channel type and number from the ACCESS CHANNEL/ASSIGN control panel. Note that only certain selections are valid. For example, odd/even pairs of channels must be configured for 2-channel operation, therefore always select an odd numbered sum or group. When configuring for surround operation, then the sum or group channel which you must select depends on the surround format.

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Chapter 3: Console Configuration Channel Signal Flow For example, if configuring 5.1 outputs, you may select SUM 1 to configure Sums 1-6; SUM 7 to configure Sums 7-12; SUM 13 to configure Sums 13-18, and so on. But, if the surround format is 4.0, then the valid options are: SUM 1 to configure Sums 1-4, SUM 5 to configure Sums 5-8; SUM 9 to configure Sums 9-12; etc. See Page 420 for more details on selecting the console’s surround format. Note that you can assign SUM 7 to 12 to surround, even if Sums 9 to 12 are tiny channels! Let’s assume that you have selected SUM 1. CHAN/CONFIG 2. Next, press the CHAN/C ONFIG button to select the Channel Config display:

3. Select the PAGE button to access the second level of soft key functions within this display.

Any of the signal processing blocks may be in focus as the soft key options are identical for all. 4. Use the soft keys to make the configuration as follows: •

2-CH – will configure SUM 1 and SUM 2 for 2-channel operation.

•

SURR – will configure SUM 1 to SUM n for surround operation depending on the console’s surround format. 5. To undo the 2-channel or surround configuration, deselect the 2-CH or SURR soft keys.

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Chapter 3: Console Configuration Channel Signal Flow

Configuring Surround Inputs Inputs In addition to configuring sums or groups as surround outputs, a number of inputs may be defined to operate as a surround return. For example, to return a surround reverb unit back to the mix. Let’s assume that we have already configured SUMs 1 to 6 as a surround output. To configure INP 1 to 6 for a surround return: 1. Put the first input channel you wish to configure into access, either by pressing its fader strip SEL button, or selecting a channel type and number from the ACCESS CHANNEL/ASSIGN control panel. Note that as for surround outputs, only certain selections are valid. For example, if configuring 5.1 inputs, you may select INP 1 to configure Inputs 1-6; INP 7 to configure Inputs 7-12; and so on. See Page 420 for more details on selecting the console’s surround format. Let’s assume that you have selected INP 1. 2. Press the CHAN/CONFIG button to select the Channel Config display:

PAGE 3. Select the PA GE button to access the second level of soft key functions within this display.

Any of the signal processing blocks may be in focus as the soft key options are identical for all. 4. Press the SURR soft key to configure INP 1 to INP 6 for surround operation.

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Chapter 3: Console Configuration Configuration Channel Signal Flow 5. Now if you assign say INP 1 to SUM 1, then all inputs within the surround return (INP 1 to INP 6) are assigned to all sums within the surround output (SUM 1 to SUM 6):

Note that when a surround input is created, panning is switched off, and assignments are made onto the surround sum automatically using a cross matrix assignment. i.e. the surround cross matrix maps IN1 to SUM1, etc. If you wish to apply panning, then you can re-enable the pan controls for the input.

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Chapter 3: Console Configuration DSP Configurations

DSP Configurations For any given hardware specification, you may choose from a number of DSP configurations designed to meet a variety of onair, recording and post production needs. Each configuration offers different numbers of input channels, monitor return channels, groups, main sums, auxiliaries and also affects whether your AFL bus is stereo or surround. In addition, the configuration determines how many of these paths are provided with fully featured or reduced (Tiny) processing. Note that the number of DSP channels available for each configuration is affected by the sample rate of the console. This choice is made within the low level configuration data and may not be modified by the user. Higher sample rates (e.g. 96kHz or 88.2kHz) use twice as much DSP resource as lower sample rates (e.g. 48kHz or 44.1kHz). Therefore you will be able to configure more input channels at lower rates. Your current DSP configuration may be viewed on the DSP Config display. 1. Press the DSP CONFIG button, located on the centre section SCREEN CONTROL panel, to view this display now:

The upper half of the display provides details of each of the Available Configurations for your hardware specification. The DSPDSP-Boards box shows the number of DSP boards detected by the HD core. The Active Configuration summary, displayed in green, shows the details for you current DSP configuration.

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Chapter 3: Console Configuration DSP Configurations The Selected Configuration summary provides similar details for the selected configuration. This allows you to interrogate an alternative configuration before making it active. In each of the summaries, you will find the following information: •

Inputs and Tiny Inputs – the number of fully featured and reduced processing input channels.

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Sums and Tiny Sums – the number of fully featured and reduced processing sum channels.

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Monitors – the number of monitor return channels. Note that monitor channels are always created using full audio processing.

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Groups – the number of group channels. Note that groups are always created using full audio processing.

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Auxes and Tiny Auxes – the number of fully featured and reduced processing auxiliary channels.

All resources are displayed as mono channels. For example, a configuration with 24 inputs provides 24 mono input channels, or 12 stereo input channels, or any combination such as 16 mono plus 4 stereo input channels. Similarly, if you configure your main sum output for a surround format, this uses 4, 6, 7 or 8 of your available sum channels.

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Chapter 3: Console Configuration DSP Configurations

Changing Your DSP Configuration Configurations may be changed at any time, making it easy to modify the mix structure if you decide, for example, that the production requires some additional groups or auxiliaries. However, note that changing the DSP configuration will cause a brief interruption to audio and therefore it is not recommended that you change configuration while live on air! To change the DSP configuration: CONFIG ONFIG button, located on the centre 1. Press the DSP C section SCREEN CONTROL panel, to view the DSP Config display:

2. Using the left and right navigation buttons, select a new configuration column from the Available Configurations. Configurations

The details for your selection are displayed in the Sel summary column allowing you to make a side-by-side comparison with your Active Configuration in green. 3. Press the LOAD soft key, located above the trackball, to load the selection.

The console now re-configures its processing to provide the selected DSP resources, and the Active Configuration summary updates to reflect the new settings. Note that loading the new configuration may cause an interruption to the console’s audio.

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Chapter 3: Console Configuration DSP Configurations Depending on the change of configuration, a number of things may happen to each type of DSP resource: •

If you have increased the amount of resource, for example you now have 8 groups rather than 4, the additional groups become available for control in the usual manner.

•

If you have reduced the amount of full processing resource, the console will allocate tiny processing where possible. For example, you have reduced the number of Inputs from 24 to 20 but have 4 Tiny Input channels available - input channels 21 to 24 are automatically configured with tiny processing.

•

If you have reduced the amount of full and tiny processing resource, then channels are removed while that configuration is active. For example you may have configured monitor return channels such that your input channel count has fallen. The input channels are no longer available and are removed from the control surface. However, note that all settings for the previous configuration are stored. This means that if you recall the previous configuration, the settings for those channels are recalled.

Saving the DSP Configuration The DSP configuration is stored and recalled with the production. See Page 241 for details on how to update the current production. Note that if you recall a snapshot saved with a different DSP configuration, then the snapshot settings will be recalled to the available DSP resources. For example, if a snapshot saved with settings for 192 input channels. The DSP configuration is changed to a lower number of input channels. When this snapshot is loaded, settings will be recalled to all the available input channels.

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Chapter 3: Console Configuration DSP Configurations

Redundant DSP Any number of DSP boards fitted to the HD core may be reserved to provide redundant processing in the unlikely event of a DSP board failure. You can investigate whether you have a redundant board from the DSP Config display:

If, for example, your HD core is fitted with 8 DSP boards and the Active Configuration uses 7 DSPDSP-Boards, Boards then the eighth board will provide redundancy in the event of a failure. This can also be seen on the HD core front panel where the spare board is shown in Standby. Note that the system uses boards from left to right across the HD core, so in our example, slot 8 hosts the spare board. In the unlikely event of a failure, the system automatically switches all DSP resources and settings from the faulty board to the spare; the faulty board may then be safely removed and replaced. Note that the replaced board, for example slot 5, now acts as the spare board either until the HD core is restarted or a new DSP configuration is loaded. Following the reconfiguration, boards are utilised from left to right across the HD core, in our example slots 1 to 7 for main DSP resources and slot 8 in standby status.

Upgrading Your DSP Configuration By now, your hardware specification will have been predetermined, unless of course you are reading this prior to console purchase! However, you may upgrade your system by retrofitting additional DSP cards at any time in the future.

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Chapter 3: Console Configuration Control Surface Configuration

Control Surface Configuration The mc266 control surface configuration allows you to lay out your input channels, groups, main sums, auxiliary masters, VCA masters and GPCs (General Purpose Channels) across the console’s fader strips as you desire. The control surface is capable of accessing many more channels and masters than the physical number of faders in front of you. This access is handled through the configuration of user banks and layers. Depending on the currently loaded snapshot, you may be sat in front of a pre-configured control surface or a series of blank fader strips. For the moment, let’s assume that your console has preconfigured fader strips and cover the operation of the console’s bank and layer switching. However, if this is not the case, please refer to Page 192 for details on how to assign channels to fader strips.

Banks an and d Layers Up to six control surface banks may be configured; think of each fader bank like a separate console, with fast global switching between banks. They may be used, for example, to access different sets of music channels during a live entertainment show, or to separate live and post production sources during a sports production. Within each bank, fader strips may also be switched, either individually or globally, between two layers. For example, to switch between input and monitor channels during a recording session, or to switch between main and backup microphone channels during a live production. In addition, note that in every bank or layer you have both channel and main fader strips. Due to the reduced number of free controls on a main fader strip, they are most suitable for controlling master channels such as main sums, groups or VCA masters. See Page 216 for more details on main fader strips.

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Chapter 3: Console Console Configuration Banks and Layers

Bank Switching There are two ways to switch between the console’s six user banks: globally from the centre section or locally, 8 faders at a time, from the fader strips. To page the control surface globally: 1. Locate the six BANK access buttons, numbered 1 to 6 above the ACCESS CHANNEL/ASSIGN control panel in the centre section. One of these buttons will be illuminated; this is your currently selected fader bank. 2. Press any numbered button to switch to a new bank of channel and main fader strips.

As you do this, all fader labels, control positions and Channel displays update across the console to reflect the new settings. If your banks are not yet configured with assignments, then you will switch to blank fader strips. Note that if a fader bay is isolated, the 8 faders within the isolated bay are not switched by the global banking buttons. To control bank switching locally from the fader strips: 3. Locate the BNK1, BNK2 BNK3, BNK3 BNK4, BNK4 BNK5 and BNK6 BNK1 BNK2, buttons:

One of the buttons will be illuminated; this is your currently selected fader bank. 4. Press any of the other buttons to switch to a new bank.

This time only the 8 fader strips within your local module switch to the new bank. Note that as soon as you press a global BANK access button, this will reset any local selections, unless the fader bay is isolated. See Page 184 for more details on isolating fader bays.

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Chapter 3: Console Configuration Banks and Layers

Layer Switching Within each of the six banks, each fader strip has two layers – Layer 1 and Layer 2. Layers can be switched globally, locally, 8 faders at a time, or individually, making them ideal for fast access to related sources. For example, assign a main microphone channel to Layer 1 and a backup microphone channel to Layer 2, or assign your input channels to Layer 1 and monitor return channels to Layer 2. To switch between layers globally: 1. Locate the four LAYER access buttons above the ACCESS CHANNEL/ASSIGN control panel in the centre section. 2. Press the FLIP button to invert the layer for all fader strips - channel and main.

This inverts the current layer selections allowing you to view all ‘hidden’ channels on the alternate layer with one button push. 3. Press the ALL 1ST button to reset all fader strips - channel and main - to Layer 1. 4. Press STRP 2ND to switch the channel fader strips to Layer 2. 5. Press the MAIN 2nd button to switch the eight main fader strips to their second layer. As you change between layers, the fader labels, control positions and Channel displays update across the console to reflect the new settings. If your second layer is not yet configured with assignments, then you will switch to blank fader strips. The name and label on top of the Channel display (e.g. INP1 Guest st 1) Gue 1 show the system name and user label for the active layer; the name and label below (e.g. GRP1) GRP1 show the system name and user label for the alternate layer. Note that if a fader bay is isolated, the 8 faders within the isolated bay are not switched by the global layering buttons, see Page 184 for details. Note that when you deselect ALL 1ST, 1ST STRP 2ND or MAIN 2nd, 2nd the console reverts to the previous layer status. For example, if you had switched some individual fader strips to the second layer, then these selections will be recalled when you exit the global modes. To reset the layer status more permanently, press and hold the ALL 1ST, 1ST STRP 2ND or MAIN 2nd buttons for more than 3 seconds.

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Chapter 3: Console Configuration Banks and Layers To control layer switching locally 8 faders at a time: 1. Press the FLIP button located within each fader strip module:

This time only the 8 fader strips within your local module invert layers. Note that as soon as you press a global LAYER access button, this will reset any local selections, unless the fader bay is isolated. To switch an individual fader strip between layers: 1. Press the 2nd button located on the fader strip.

The fader’s label, control positions and Channel display update to reflect the settings for the Layer 2 channel. If there is nothing assigned to the second layer, then you will switch to a blank fader strip. 2. Press the 2ND button again to revert back to Layer 1. Note that any individual 2ND layer access selections will be overridden by the local FLIP button and/or global LAYER selection buttons.

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Chapter 3: Console Configuration Banks and Layers

Isolating Fader Strips Strips from Bank/Layer Switching There will be times when you wish to keep a fader, for example your main presenter or sum master, on the control surface at all times. To isolate fader strips from bank switching (but not layer switching) you may use the ACCESS CHANNEL/ASSIGN isolate buttons as follows:

1. Press the MAIN ISO button to isolate all eight main fader strips from bank switching.

The eight main fader strips are now isolated from bank switching. Note that if you switch banks and then deselect the MAIN ISO button, the fader strips update to reflect the settings for the selected bank. 2. Press the PERM ISO button to select individual fader strips to isolate.

The fader SEL buttons across the console flash, in green:

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Chapter 3: Console Configuration Banks and Layers 3. Press the SEL button(s) on the fader(s) you wish to isolate. You may select channel or main fader strips.

The SEL buttons change colour from green to red to indicate that they are now isolated from bank switching operations. 4. Deselect the PERM ISO button and now the selected faders remain isolated from bank switching. 5. To undo the bank switching protection, select PERM ISO and press the fader SEL buttons so that they change colour back from red to green. 6. Finally, use the SEL ISO to temporarily isolate the selected channel from bank switching.

Whichever channel is in access will now not change bank when you press any of the 1 to 6 bank switching buttons. The CLEAR ISO button is reserved for future implementation. If you wish to isolate a fader strip from both bank and layer switching, then an alternative approach is to assign the channel to the same position within every bank and layer using the BOTH LAYERS and ALL BANK assignment options. Please refer to Page 197 for details. Alternatively, if you are working with more than one engineer and wish to provide separate 8-fader bays for the second engineer, you may use the isolate fader bay feature, described in the next section.

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Chapter 3: Console Console Configuration Isolating Fader Bays

Isolating Fader Bays For complex productions, you may require more than one engineer to work on the same console, for example, one engineer to mix the main broadcast sound and a second engineer to mix the international sound. Any number of 8-fader bays may be isolated from the main console so that both users can have independent bank/layer switching, AFL/PFL monitoring and DSP parameter control. In the example shown below, the last eight faders have been isolated. However, the isolated fader bay(s) may be located in any position across the console.

Isolating a Fader Bay To isolate a fader bay: 1. Press the ISO button located on the bay’s fader strips:

The 8 fader strips are now isolated from the centre section’s BANK and LAYER access buttons.

Bank Bank and Layer Switching On the isolated bay(s), the second engineer may now switch banks and layers independently using the local fader strip BNK1, BNK1 BNK2, BNK2 BNK3, BNK3 BNK4, BNK4 BNK5, BNK5 BNK6 and FLIP buttons as described on Pages 179 and 180.

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Chapter 3: Console Configuration Isolating Fader Bays

Independent AFL and PFL AFL and PFL selections made within an isolated bay(s) may be routed onto a second AFL and PFL bus. For example, to provide the second engineer with independent headphone monitoring. This option is selected from the System display, display see Page 424 for details. When the ISO AFL2/PFL2 option is selected, any channels in AFL or PFL within an isolated fader bay are routed to the AFL2 and PFL2 busses. These busses may then be routed to a separate loudspeaker or headphone feed from the Signals display. If you wish, then a CLEAR AFL2/PFL2 button may be programmed onto the 24 Control Room Monitoring panel buttons. If the ISO AFL2/PFL2 option is not selected, then all AFL and PFL selections across the console feed onto the main AFL and PFL bus.

Snapshot Filter

To prevent snapshots recalled by the main engineer affecting isolated fader bays, use the BAY snapshot filter button to protect settings on the isolated bay. For example, if the main engineer wants to recall a new fader strip layout without changing the second engineer’s isolated bay(s), then turn on the BAY snapshot filter button before recalling the snapshot. See Page 265 for more details on snapshot filters.

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Chapter 3: Console Configuration Isolating Fader Bays Bays

DSP Parameter Control (ISO Bay Access) Access) Within an isolated bay, the DISP EQ, EQ DISP DYN, DYN DISP AUX and DISP MISC buttons allow the second engineer to control DSP parameters such as EQ locally from within the bay. This enables the first engineer to be compressing a channel from the Central Control Section while the second engineer applies EQ to a channel within an isolated bay simultaneously. If you are mixing by yourself, you can also use the ISO Bay Access feature to adjust DSP parameters locally rather than from the Central Control Section. This has the advantage of providing one knob per function for each of the DSP module parameters. 1. First, if you haven’t already done so, press the ISO button to isolate the fader bay. 2. Next, select the DSP module which you wish to control – for example EQ by pressing DISP EQ. EQ 3. Then select the channel you wish to adjust by pressing its fader SEL button:

The 32 free controls within the isolated bay update to show the EQ parameters for the selected channel:

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Chapter 3: Console Configuration Isolating Fader Bays 4. Turn a control to adjust an EQ parameter – for example, EQ1G to adjust the gain for equaliser band 1. 5. Deselect the DISP EQ button to return the free controls to their previous assignments. For further details on the DISP DISP EQ, EQ DISP DYN, DYN DISP AUX and DISP MISC parameters, please see Page 188. Note that the behaviour of fader SEL button within the isolated bay is determined by the Select Isolate option set from the System display, display see Page 423 for details. If Select Isolate is off, then the fader SEL buttons within an isolated fader bay do not change the fader ‘in access’. In other words, you would use this mode when working with two engineers in order to prevent the second engineer from updating the channel in access while the show is running. If Select Isolate is on, then the fader SEL buttons within an isolated fader bay do update the fader ‘in access’. In other words, only one SEL button may be active across the whole console. You might use this mode when working alone so that the Central Control Section always follows your SEL button selection regardless of whether a bay is isolated. When working with Select Isolate Isolate off, note that if you deselect and then reselect the bay’s ISO button, the console will remember the selected channel within the isolated bay so that you can return to adjusting its parameters easily.

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Chapter 3: Console Configuration Isolating Fader Bays Within an isolated fader bay, the 32 free controls provide access to parameters as follows: •

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Select DISP EQ to adjust parameters for the 4-band equaliser, high and low pass filters, and dynamics sidechain filters:

EQ Band 1

EQ Band 2

EQ Band 3

EQ Band 4

Filter 1

Filter 2

Sidechain Filter 1

Sidechain Filter Filter 2

Free Control 1

Type

Type

Type

Type

Type

Type

Type

Type

Free Control 2

Q

Q

Q

Q

Q

Q

Q

Q

Free Control 3

Freq

Freq

Freq

Freq

Freq

Freq

Freq

Freq

Free Control 4

Gain

Gain

Gain

Gain

Gain

Gain

Gain

Gain

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Chapter 3: Console Configuration Isolating Fader Bays •

Select DISP DYN to adjust gate, expander, compressor and limiter parameters:

Gate

Gate

Expander

Expander

Compressor

Compressor

Limiter

Limiter

Free Control 1

Attack Time

Release Time

Attack Time

Release Time

Attack Time

Release Time

Attack Time

Release Time

Free Control 2

Threshold

Look Ahead Delay

Threshold

Hold

Threshold

Hold

Threshold

Look Ahead Delay

Free Control 3

Hold

-

Ratio

-

Ratio

-

Hold

-

Free Control 4

Floor

-

Gain

-

Gain

-

-

-

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Chapter 3: Console Configuration Isolating Fader Bays •

Select DISP AUX to adjust aux send parameters:

Aux Gain for sends 1 to 32 is adjusted as shown. Note that if an aux is stereo you can adjust the gain and pan for the stereo send.

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Chapter 3: Console Configuration Isolating Fader Bays Select DISP MISC to adjust input :

•

Input Gain & Balance

Width & Position

DAMP, Delay, Insert, Dir Out

Panning

Panning

-

Audio Follow Video

Audio Follow Video

Free Control 1

Input Gain (IN) or Analogue Mic Gain (AN) depending on the input source.

Width (stereo inputs)

Digital Amplifier (DAMP)

Slope

High-Low Pan (PanZ)

-

On Level (ONLV)

Rise Time (RTME)

Free Control 2

-

-

Delay Time

-

-

(in ms, m or frames)

Level to the Low Frequency Effect (EFF)

Off Level (OFLV)

On Time (OTME)

Free Control 3

Balance (if the input is stereo)

Position (stereo inputs)

Insert send level

FrontBack Pan (PanY)

-

-

Event Number (EVNT)

Fall Time (FTME)

Free Control 4

-

-

Direct Out level

LCR Pan (Pan X)

-

-

-

-

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or Balance for stereo inputs

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Chapter 3: Console Configuration Assigning Channels to Fader Strips

Assigning Channels to Fader Strips Fader strips are assigned from the STRIP ASSIGNMENT and ACCESS CHANNEL/ASSIGN control panels in the centre section of the console:

The configuration is stored and recalled with the console snapshot. Therefore, once a configuration is prepared for a particular production, the set up may be recalled in an instant prior to subsequent shows. Remember that there are two types of fader strip on the control surface – the channel fader strips and the eight main fader strips. Either may be used to control inputs (input and monitor channels), outputs (auxiliary, group and sum masters) or VCA masters providing access to source channels and masters where you need them.

Fader Strip Assignment To assign a fader strip, you first select the channel type and number you wish to assign, from the ACCESS CHANNEL/ASSIGN control panel, followed by the fader strip destination. For a reminder on how to put different channel types and numbers into access, please see Page 17. For example, to assign Input channel 1 to channel fader strip 1: 1. Select INP 1 from the ACCESS CHANNEL/ASSIGN control panel, either by entering INPUT and the number 1, or using the NEXT and PREV buttons.

This puts INP 1 into access as indicated on the CHANNEL and LABEL displays.

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Chapter Chapter 3: Console Configuration Assigning Channels to Fader Strips 2. Now press the global ASSIGN button, located on the STRIP ASSIGNMENT: ASSIGN MODES panel.

Across the console, the fader SEL buttons flash, in green, to indicate possible destinations for your chosen channel:

3. Press the fader SEL button on channel fader strip 1 to complete the assignment.

The fader SEL button stops flashing and changes colour, from green to red, to indicate the assignment. In addition, the fader strip controls update to the show the settings for input channel 1. 4. Deselect the ASSIGN button or press ESC ESC, on the ACCESS CHANNEL/ASSIGN control panel, to exit the fader strip assignment mode. You can assign the same channel to multiple fader strips on the same bank or layer, or alternate banks or layers, by keeping the ASSIGN button selected, moving to the desired bank or layer and pressing the fader SEL buttons on the destination fader strips.

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Chapter 3: Console Configuration Assigning Channels to Fader Strips

Assigning Consecutive Sources to Multiple Strips To assign multiple fader strips in one operation, for example, input channels 1-24 to fader strips 1-24: 1. Select INP 1 from the ACCESS CHANNEL/ASSIGN control panel, either by entering INPUT and the number 1 or using the NEXT and PREV buttons.

This puts INP 1 into access as indicated on the CHANNEL and LABEL displays. 2. Select the FIRST LAST button, located on the STRIP ASSIGNMENT: ASSIGN MODES panel.

This automatically selects the global ASSIGN button, and across the console the fader SEL buttons flash, in green, to indicate possible destinations for your chosen channel. 3. Press the fader SEL button on the first fader in the range you wish to assign (e.g. on fader strip 1) followed by the fader SEL button on the last fader in the range (e.g. fader strip 24).

The console incrementally assigns input channels 1 to 24 from the first selection (channel fader strip 1) to the last selection (channel fader strip 24). 4. Deselect the global ASSIGN button or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit the assign mode. The start and end of the range can be at any position across the control surface, and sources may be routed from left to right or from right to left by reversing the order of your first and last fader selection. Note that FIRST LAST operations treat channel and main fader strips independently, allowing you to assign consecutive channel fader strips without affecting main fader strip assignments or vice versa.

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Chapter 3: Console Configuration Assigning Channels to Fader Strips

Inserting Channels within a Configuration Normally any existing fader strip assignments are replaced by the new selection. However, there are times when you may wish to keep your current assignments and insert a channel between two existing faders. For example, to insert an extra guest channel, let’s say on channel fader strip 5, during a talk show: 1. Select the channel you wish to insert using the ACCESS CHANNEL/ASSIGN control panel as before.

The CHANNEL and LABEL displays show the name and label for the guest input channel. 2. Select the INS MOVE button, located on the STRIP ASSIGNMENT: ASSIGN MODES panel.

This automatically selects the global ASSIGN button, and across the console the fader SEL buttons flash, in green, to indicate possible destinations for your chosen channel. 3. Press the fader SEL button on the fader strip to the left of where you wish to insert the new channel.

For example, if you press SEL on strip 4, then the channel is inserted on strip 5, and channels assigned from strip 5 upwards move one step to the right across the control surface. Note that this moves the last channel on the current layer off the end of the console. The settings for this fader are stored as a virtual fader. For example, on a 24-fader control surface, the above operation would shift fader strip 24 up onto a virtual fader strip 25. This fader cannot be accessed, but remains in this location and will be brought back onto the control surface if a fader strip is deleted with INS MOVE. MOVE

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Chapter 3: Console Configuration Assigning Channels to Fader Strips To delete a channel from the current configuration: 1. Select the channel you wish to delete by pressing its fader strip SEL button.

This puts the channel in access; the SEL button should be red. 2. Select the INS MOVE button, located on the STRIP ASSIGNMENT: ASSIGN MODES panel.

This automatically selects the global ASSIGN button, and across the console the fader SEL buttons flash. 3. Press the channel’s fader SEL button again to confirm the delete.

The channels above it ripple down the control surface to fill in the gap. Note that channel and main fader strips are treated independently for INS MOVE operations so, for example, channels inserted or deleted from channel fader strips do not affect main fader strip assignments or vice versa.

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Chapter 3: Console Configuration Assigning Channels to Fader Strips

Multiple Modes The six MULITPLE MODE buttons provide a number of short cuts for assigning fader strips across several banks or layers. In addition, this area contains the CLEAR button used for clearing current assignments.

Assigning Channels across All Ba Banks/ nks/Both nks/Both Layers You can assign channels to any of the console’s banks and layers by selecting the bank or layer before you start the assignment process. However, when dealing with multiple layer or bank assignments, the MULTIPLE MODE buttons provide a number of short cuts. Let’s take an example where you wish to assign input channel 1 to fader strip 1 across all six control surface banks. 1. Select INP 1 from the ACCESS CHANNEL/ASSIGN control panel, either by entering INPUT and the number 1 or using the NEXT and PREV buttons.

This puts input channel 1 into access; the CHANNEL and LABEL displays show the name and label for input channel 1. 2. Now press ALL BANK on the MULTIPLE MODE panel.

This automatically selects the global ASSIGN button, such that the fader SEL buttons across the surface start to flash in green. In addition, the six BANK select buttons 1 – 6 are illuminated: 3. At this stage, you may deselect any bank buttons which you don’t want to use as part of the assignment. For example, if you wanted to start the assignment from bank 2, you would deselect bank 1. For the purposes of our example, keep all six BANK buttons selected. 4. Press the fader SEL button on channel fader strip 24 to complete the assignment across all six banks. In addition to bank assignments, the BOTH LAYERS button may be used to assign the channel in access to both the 1st and 2nd layers of the selected bank or banks. Repeat steps 1 to 4 but select the BOTH LAYERS button in addition to or instead of ALL BANK. BANK

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Chapter 3: Console Configuration Assigning Channels to Fader Strips

Clearing Individual Fader Strip Assignments The CLEAR button is used to clear fader strip assignments: 1. Press the CLEAR button on the MULITPLE MODE panel.

This automatically selects the global ASSIGN button, such that the fader SEL buttons on the current surface start to flash. 2. Press the fader SEL button(s) on any fader strips you wish to clear. 3. When you are finished, deselect the CLEAR button to prevent accidental changes to your configuration!

Clearing a Bank of Fader Strips The CLEAR BANK button may be used to clear a complete bank of fader strip assignments. Note that this operation applies globally to both layers of the selected bank. 1. Press the CLEAR BANK button on the MULITPLE MODE panel. 2. Select the bank or banks you wish to clear using the 1 to 6 BANK access buttons:

3. Press the Enter button, located on the ACCESS CHANNEL/ASSIGN control panel, to complete the operation.

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Chapter 3: Console Configuration Assigning Channels to Fader Strips

Copying Banks of Fader Strip Assignments When making fader strip assignments, you can copy the current control surface configuration to a new bank or banks. This can be very useful when you wish to keep some channels common across banks. For example, you may wish to keep fader strips 25 to 32 allocated to your main presenter and guest channels while other fader strips (1-24) bank switch between different sets of music channels during an entertainment show. 1. Bring the bank you wish to copy to the active surface using the 1 to 6 BANK access buttons:

The control surface updates to show the settings for the selected bank.

2. Press the COPY BANK button on the MULITPLE MODE panel. 3. Now select the destination by pressing one of the 1 to 6 BANK access buttons. 4. Press the Enter button, located on the ACCESS CHANNEL/ASSIGN control panel, to complete the operation.

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Chapter 3: Console Configuration Assigning Channels to Fader Strips Strips

Locking the ACCESS and ASSIGN Control Panels Panels In order to protect the channel in access and other assignments during a live production, you may use the Lock buttons located on the ACCESS CHANNEL/ASSIGN panel:

1. Press LOCK ACC to lock the current channel in access. For example, you may wish to lock INP 24 into access so that it remains accessible from the Central Control Section at all times during the production.

When LOCK ACC is selected, you cannot use the ACCESS CHANNEL/ASSIGN control panel or press fader SEL buttons to update the channel in access. 2. Press LOCK ASN to disable the STRIP ASSIGNMENT and BUS ASSIGNMENT buttons. This prevents you from accidentally changing your fader strip and bus assignments from the front panel during a production. Note that can still assign a channel to an aux send from the Central Control section, or use the Bus Assign display to make bus assignments with LOCK ASN active.

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Chapter 3: Console Configuration General Purpose Channels (GPCs)

General Purpose Channels (GPCs) (GPCs) In addition to controlling onboard DSP, fader strips may be assigned to GPCs (General Purpose Channels), allowing control of parameters within external devices via MIDI. Typical applications include using faders or rotary controls to adjust and store camera microphone levels via MIDI to VCA converters; to adjust fader levels and other parameters within an external DAW; to adjust reverb settings within an external effects unit. The console supports up to 256 General Purpose Channels and each channel features the same control objects as a normal DSP channel – EQ, Delay, Compressor, Limiter, etc. Remember that these channels are for control only, and the parameters they adjust depend on the mapping within the MIDI protocol. For example, you may be using channel Delay to set the reverb time within an outboard effects unit. The assignment of channel objects to MIDI program changes and controller values is configured within the MIDI setup of the console. Please refer to the mc266 Technical Manual for full details.

Assigning GPCs to Fader Strips GPCs may be assigned to any channel or main fader strip on the control surface by selecting GPC as the channel type. Note that when GPCs are selected, the CHANNEL and LABEL displays are shortened as follows: •

GPC 1 to 9 – displayed as GPC1, GPC2, etc.

•

GPC 10 to 99 – displayed as GP10, GP11, etc.

•

GPC 100 to 256 – displayed as P100, P101, etc.

Storing Settings The settings for GPCs are stored in snapshots in exactly the same way as normal DSP channels. Therefore, you may use SNAP ISO to isolate a GPC from snapshot recall, or protect all GPCs using the DSP Filter option. Please refer to Page 265 for more details.

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Chapter 3: Console Configuration Multitrack Recording and Monitor Channels

Multitrack Recording and Monitor Channels Several of the DSP configurations support both input and monitor channels, providing the ability to easily configure the mc266 for multitrack recording applications. A number of special features apply to monitor return channels and the auxiliary sends routed from them.

In--Lin Line In e Console Configuration Using a traditional in-line approach, the console may be configured with input channels providing control of sends to the recorder and monitor return channels providing switched monitoring of the sends and returns to/from the recorder. Let’s take an example where we have a 24 track recorder. 1. First assign your input and monitor channels onto the control surface. By assigning your input channels to layer 1 and monitor channels to layer 2 of the same fader bank, you will have fast access to your send and return channels using layer switching. Please see Page 192 for details on assigning channels to fader strips. 2. Assign the sources you wish to record to your input channels using the Signals display, see Page 388 for details, and open your faders to set the record levels. 3. Assign the returns from the multitrack machine to your monitor channels and open your faders to set the monitoring levels. 4. The next step is to route your input channels to the track busses feeding the recorder. Note that a fixed relationship exists between each track bus and monitor channel, in that track bus 1 always feeds monitor send 1, track bus feeds send 2, etc. Therefore, to route our input channels to our 24 track recorder, we need to route to track busses 1-24 (MON 1-24). Use either Forward or Reverse Bus Assign to route your input channels onto MON 1-24. Please see Page 76 for details. You may record other busses, such as a group, by assigning group channels rather than input channels to the monitor channels/track sends. Alternatively, if you wish to send a pre fader signal to the track send, you may route the direct output or the insert send from the input channel directly to the track send from the Signals display. See Page 386 for details.

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Chapter 3: Console Configuration Multitrack Recording and Monitor Channels 5. Now flip your monitor channels 1-24 onto the active control layer, and use the SND, SND RET and MIX buttons – located either on the Central Control Section on a broadcast console, or on each fader strip on a recording console – to switch the input to each monitor channel between:

•

SEND – the recorder send.

•

RET – the recorder return.

•

MIX – a sum of the send and return.

•

REC button – reserved for future implementation. You should record arm the track from the multitrack recording device.

Use the individual or global layer switching buttons to flip between your input channels (to control the send levels to the recorder) and monitor channels (to control the monitor mix). Note that normally for multitrack operation, a monitor channel cannot be assigned back to its associated track bus in order to prevent feedback. However, when using monitor channels for non-multitrack applications, you may override this feature from the System display, see Page 420 for details.

Other Monitor Channel Applications The only difference between input channels and monitor channels is that the monitor channel direct out is used to provide the track bus signal path. This means that you can also use monitor channels in non multitrack applications to handle any type of source with exactly the same processing facilities as an input channel except there is no direct output.

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Chapter 3: Console Configuration Multitrack Recording and Monitor Channels

Monitor Channels and Auxiliary Cue Feeds A couple of special rules apply to the signal flow of a monitor channel, and auxiliary sends 17 to 32 which are fed from them. Firstly, the direct output on a monitor channel is used to create the track send to the multitrack recorder. By default, this is assigned to the corresponding track bus, for example, track bus 1 feeds monitor channel send 1, but it may be re-assigned to any input source from the Signals display - for example, to record an input directly, or to record a pre-fader send from the input channel. Secondly, auxiliary sends 17 to 32 have special properties when assigned from monitor channels in order to create overdub cue feeds for the recording artist. When any auxiliary from 17 to 32 is assigned from a monitor channel, its source is also switched between the send, return or a mix of both send and return. This switching occurs independently from the monitor channel, allowing the engineer in the control room to be monitoring the track return, while the artist hears a mix of the send and return up to the drop-in point. The auxiliary send is switched between the various source signals from the auxiliary control panel: •

Press PEQ to switch the monitor return signal to the auxiliary send.

•

Press PF to switch the monitor send signal to the auxiliary send.

•

Select both buttons to send a sum of both send and return signals to the auxiliary send.

Note that this source selection occurs automatically on auxiliary sends 17 to 32 only. Therefore, use these sends for cue feeds when overdubbing. Also note that the source selection only affects auxiliaries 17-32 when assigned from monitor channels. In non recording applications, these sends behave in a conventional manner.

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Chapter 4: The Centre Section Introduction

Chapter 4: The Centre Section Introduction This chapter deals with the centre section functions normally presented to the operator. Note that several control areas, such as snapshots, are dealt with in other chapters of the manual. Please refer to the page references as follows: •

The Central Control Section – dedicated channel control (see Page 86).

•

AUTOMATION – timecode automation control (see Page 320).

•

SNAPSHOT/SEQUENCE – snapshot and real-time sequence control (see Page 253).

•

CONTROL ROOM MONITORING – main, alternate and secondary monitor feeds (see Page 206).

•

The Main Fader Strips – assignable to any channel, but typically used as VCA group masters, audio sub group or main sum masters (see Page 216).

•

USER PANEL – reserved for special panels for talkback, sequence automation, or additional user keys (see Page 226).

•

LINK - used to link odd/even fader strips for stereo link control (see Page 224).

•

ACCESS and ASSIGN controls – for assigning channels to the Central Control Section, fader strips and bus outputs (see Pages 89, 192 and 76 respectively).

•

CHANNEL DISPLAY – used to change the Channel display INFO window (see Page 226).

•

FADER CONTROL – enables faders to control other object types. For example, to control auxiliary send levels from the channel faders to set up a quick headphone balance (see Page 227).

•

STRIP CONTROL – used to select what is shown on the free control alphanumeric displays, and fader labels (see Page 227).

•

PANNING – joystick panning (see Page 108).

•

SCREEN CONTROL – display selection and navigational controls for the centre control screen displays (see Page 20).

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Chapter 4: The Centre Section Control Control Room Monitoring

Control Room Monitoring The mc266 provides three monitor outputs: •

Control Room Monitor 1 (CRM1) – surround (up to 7.1).

•

Alternate (ALT) – an alternate set of speakers fed from CRM1.

•

Control Room Monitor 2 (CRM2) – stereo.

Normally, you would use the CRM 1 output for your main speakers. You may then choose whether to connect your mini speakers to the ALT output, for inter cancelling mains and minis, or to the CRM 2 output, for simultaneous monitoring on two sets of speakers.

Control Room Monitor 1 (CRM1) (CRM1) The main and alternate CRM1 monitor outputs are adjusted from the CONTROL ROOM MONITORING panel:

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Chapter 4: The Centre Section Control Room Monitor 1 (CRM1)

The CRM1 output may be mono, stereo or any surround format up to 7.1. The format is defined by the console’s surround format option, set from the System display. Please refer to Page 420 for details.

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Chapter 4: The Centre Section Control Room Monitor 1 (CRM1)

Source Selection. Selection. At the top of the panel are 24 programmable buttons for monitor source selection and other functions such as CLEAR AFL/PFL, AFL/PFL PFL to Mains, Mains etc The buttons are programmed in the factory configuration and can be used to switch external sources, analogue or digital, or internal busses, such as the main sum or group outputs, to the CRM1 monitor output. Note that some of the buttons may be assignable allowing you to programme the source from the Signals display. Please refer to your console specification for details. 1. Press one of the pre-programmed buttons to select your monitor source.

The selected source appears on the CRM1 speakers.

Monitor Level 1. Use the CRM1 rotary control to set the main monitor level.

The monitor level is shown in the 4-character display as it is adjusted. The maximum monitoring level is set in the factory configuration; please refer to your console specification for details.

Monitor Dim 1. Press DIM to dim the main CRM 1 monitors.

The monitor dim level is shown in the 4-character display. Note that the console features two independent monitor dim settings:

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•

Monitor Dim – actioned by pressing the DIM button

•

Talkback Monitor Dim – actioned either by pressing an internal TALK button or external GPI trigger; for example, to dim the main monitoring when you press a Talkback button.

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Chapter 4: The Centre Section Control Room Monitor 1 (CRM1) You can adjust the amount of dim independently for each setting: 1. Press the SET button to enter the set parameter mode.

The 4-character display changes to BAL showing that you are in set Balance mode. 2. Press the DIM button to select the monitor dim parameter.

The 4-character display changes to DimL showing that you are in Dim Level mode. 3. Adjust the monitor dim level using the monitor level control.

As long as you keep touching the control, the amount of dim is shown in the 4-character display. 4. Now push the SET button again to set the amount of talkback dim.

The 4-character display changes to TbDL showing that you are in Talkback Dim Level mode. 5. Adjust the talkback dim level using the monitor level control.

As long as you keep touching the control, the amount of dim is shown in the 4-character display. 6. Deselect SET to exit the set parameter mode.

Mono Left/Right Left/Right The M button allows you to check mono compatibility. 1. Press M to mono the Left and Right CRM1 monitor outputs to both speakers.

This automatically applies a 3dB reduction to the left and right channels to compensate for the mono sum. You may adjust the mono gain reduction level: 2. Press the SET button to enter the set parameter mode.

The 4-character display changes to BAL showing that you are in set Balance mode.

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Chapter 4: The Centre Section Control Room Monitor 1 (CRM1) 3. Now press the M button to select the mono gain trim parameter.

The 4-character display changes to T M to show that you are in Trim Mono mode. 4. Adjust the mono trim level using the monitor level control.

As long as you keep touching the control, the trim level is shown in the 4-character display. 5. Deselect SET to exit the set parameter mode.

Stereo Monitoring Functions 1. Press LtoB to monitor the Left CRM1 output on both left and right speakers. 2. Press RtoB to monitor the Right CRM1 output on both left and right speakers. 3. Press PH L to reverse the phase of the Left CRM1 output. 4. Press PH R to reverse the phase of the Right CRM1 output. Note that both phase left and phase right buttons are available to deal with phasing issues on either speaker.

Left/Right Monitor Balance The monitor balance control allows you to offset the Left and Right CRM1 levels to compensate for poorly aligned stereo speakers. 1. Press the SET button to enter the set parameter mode.

The 4-character display changes to BAL showing that you are in set Balance mode. 2. Adjust the balance using the monitor level control.

As long as you keep touching the control, the balance value is shown in the 4-character display. Balance may be adjusted from 20dB to +20dB. 3. Deselect SET to exit the set parameter mode.

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Chapter 4: The Centre Section Control Room Monitor 1 (CRM1)

Individual Speaker Mutes The L, C, R, S1L, S1L S1R, S1R S2L, 2L S2R S2R and LFE buttons are used to mute the individual surround speakers and select parameters for setting balance and volume trim settings. 1. To mute a speaker, press the corresponding mute button.

The mute button turns red when selected. Note that not all mute buttons may be active depending on your choice of surround format.

Individual Speaker Solos The L, C, R, S1L, S1L S1R, S1R S2L, S2L S2R and LFE buttons may also be used to solo individual surround speakers. The solos are additive so, for example, you can solo Left, Centre and Right speakers simultaneously. 1. To solo a speaker, press the SOLO button followed by the corresponding mute button.

The mute button turns green. Note that if a speaker mute button was activated before the SOLO mode, then if you try and solo the same speaker its LED turns orange to indicate that you are now attempting to solo a muted speaker!

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Chapter 4: The Centre Section Control Room Monitor 1 (CRM1)

Individual Speaker Level Trims Each of the CRM1 speaker outputs may be individually trimmed to help align your surround speakers. 1. Press SET to enter the set parameter mode.

The 4-character display changes to BAL showing that you are in set Balance mode. 2. Choose the speaker you wish to adjust by pressing the corresponding speaker mute button - L, C, R, S1L, S1L S1R, S1R S2L, S2L S2R or LFE. LFE

The 4-character display changes to show that you are in Trim level mode; the exact display depends on your choice of speaker, for example TrFL rFL for Trim Front Left. For more details on the available surround formats and how they correspond to the front panel mute buttons, see Appendix A on Page 454. 3. Adjust the level of the selected output using the monitor level control.

As long as you keep touching the control, the level is shown in the 4-character display. Levels may be trimmed between -128 and +15dBr. 4. Deselect SET to exit the set parameter mode.

Alternate Speaker Switching 1. Press the ALT button to switch the CRM1 monitoring output to an alternate set of speakers, for example your minis.

The CRM1 output is now switched to the alternate speakers.

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Chapter 4: The Centre Section Control Room Monitor 2 (CRM 2)

Control Room Monitor 2 (CRM 2) The second monitor output is stereo and is designed for simultaneous use with the main control room monitoring. For example, you may connect your mini speakers to this output if you wish to audition sources on the minis while keeping another on the mains. Alternatively, you may use this output to feed a separate destination such as the video gallery. All controls are adjusted from the MONITORING 2 panel:

At the top of the panel are 15 programmable buttons for monitor source selection. These can be used to select external sources (analogue or digital) or internal busses such as the main sum or group outputs. The buttons are programmed in the factory configuration; some may be assignable allowing you to programme the source from the Signals display. 1. Press one of the pre-programmed buttons to select your monitor source. 2. Use the CRM 2 rotary control to set the monitor output level. 3. Press OFF to mute the monitor 2 output. 4. Press M to mono the Left and Right monitor outputs to both speakers. 5. Press LtoB or RtoB to monitor either the Left or Right channels on both speakers.

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Chapter 4: The Centre Section AFL and PFL Monitoring

AFL and PFL Monitoring

Depending on your monitoring configuration, AFL and PFL signals may appear on the Control Room 1, Control Room 2 or external monitor speakers (AFL and PFL busses may be found in the Bus Out directory on the Signals list for routing to external speakers.) In addition, you may have access to AFL to Mains and PFL to Mains switching from the 24 programmable Control Room Monitoring panel buttons. These settings are programmed within the factory configuration; please refer to your console specification for details.

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Chapter 4: The Centre Section AFL and PFL Monitoring A number of options exist for defining the behaviour of AFL and PFL buttons, or AFL may operate as Solo-in-Place. See Page 432 for more details. Note that key 24 is always programmed as CLEAR AFL/PFL. AFL/PFL Press this button to clear all active AFL and PFL selections across the console. Also note that a second AFL and PFL bus exists for isolated fader bays. This allows a second engineer to have independent monitoring from the main console in a multi user situation. See Page 184 for details.

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Chapter 4: The Centre Section Main Fader Strips

Main Fader Strips The eight main fader strips in the centre section may be used to control any channel type – input channels, monitor return channels, groups, sums, auxiliaries, VCA masters – in exactly the same way as a channel fader strip.

Each main fader strip provides: •

Two assignable ‘Free Controls’ and access buttons providing local control of EQ, Panning, Dynamics, Aux Sends, etc.

•

Four programmable ‘soft’ keys configured either for communications functions (broadcast) or recorder control (production).

•

SEL button for assignment operations.

•

Fader cassette with a 4-character label display, group assignment display and AFL, PFL, mute and layer access buttons.

The only differences in operation from channel fader strips are that the main strips do not have input gain controls, and provide two free controls as opposed to four. This makes them most suitable for controlling master channels such as main sums, groups or VCA masters.

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Chapter 4: The Centre Section Main Fader Fader Strips

Banking and Layering the Main Fader Strips There are many applications for the main fader strips, and therefore they may be configured in banks and layers in the same way as channel strips. Each of the six BANK buttons will provides access to a new set of main faders. In addition, for each bank, you may configure two layers of assignments. 1. To switch between banks, press one of the six BANK buttons 1 to 6.

2. Within each bank, you can invert the layer selections by pressing the FLIP button located on the LAYER control panel:

3. Or, press MAIN 2ND to switch all eight main faders to the second layer. 4. Alternatively, you may switch individual faders between layer 1 and layer 2 by pressing the 2nd button on the fader strip. 5. Or, you may switch banks and layers locally for all 8 main faders using the BNK1, BNK1 BNK2, BNK2 BNK3, BNK3 BNK4, BNK4 BNK5, BNK5 BNK6 and FLIP buttons:

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Chapter 4: The Centre Section Main Fader Strips

If there is nothing assigned to other banks or layers, then you will switch to a blank fader strip.

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Chapter 4: The Centre Section Main Fader Strips

Group or Sum Master Channels Typical applications for the eight main fader strips include providing master channel control for your group and sum outputs. 1. To assign a group or sum master channel onto one of the eight main fader strips, use the ACCESS CHANNEL/ASSIGN control panel and STRP ASSIGNMENT buttons as described on Page 192. 2. You may assign any rotary control function onto the main fader’s free controls using FC PRESETs, local free control assignment buttons or parameter assign. Please see Page 134 for details. 3. Alternatively, press the SEL button to attention the main fader strip to the Central Control Section and adjust signal processing settings. See Page 86.

Note that if the Group or Sum is a Tiny channel, not all signal processing will be available. 4. To make the Group or Sum stereo, go to the IMAGE area of the Central Control Section and press the STEREO STEREO button to change the Group or Sum master to a stereo channel. For more details on stereo channel operation, see Page 126.

Alternatively, you can choose to keep the Group or Sum master channels independent but have sends routed to them with 2channel panning using the 2-CH output format option from the Channel Config display, see Page 169. 5. To make the Group or Sum surround, go to the Channel Config display, see Page 169. 6. You may re-assign master channels onto other masters, for example to re-assign a Group onto a Sum, using Forward or Reverse Bus Assign as described on Page 76.

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Chapter 4: The Centre Section Main Fader Strips

VCA Group Masters Another common application for the eight main fader strips is to use them as VCA master channels. The console supports up to 16 dedicated VCA masters. Let’s take an example where we want to assign the first eight VCA masters onto the current layer of main fader strips: 1. Put VCA master 1 into access from the ACCESS CHANNEL/ASSIGN control panel, either by entering VCA and the number 1 or using the NEXT and PREV buttons.

The CHANNEL and LABEL displays should now show the name (VCA VCA 1) 1 and user label for the master. 2. Select the FIRST LAST button, located on the STRIP ASSIGNMENT: ASSIGN MODES panel.

This automatically selects the global ASSIGN button, and across the console the fader SEL buttons flash, in green, to indicate possible destinations for your chosen channel:

3. Press the fader SEL button on the first main fader strip followed by the fader SEL button on the last main fader strip.

The console incrementally assigns VCA masters 1 to 8 from the first selection (main fader strip 1) to the last selection (main fader strip 8).

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Chapter 4: The Centre Section VCA Grouping 4. Deselect the global ASSIGN button or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit the assign mode. 5. Switch to the second layer and repeat the operation to assign VCA masters 9-16 onto the second layer of main fader strips.

VCA Grouping The console supports up to 16 dedicated VCA masters and you may assign any number of fader strips to a dedicated VCA master. This provides the ability not only to control input channels but also groups, sums and auxiliary masters. When a VCA group is created, the grouped controls include: faders, mutes, AFL, PFL, input gain, auxiliary send, panning and image controls. You may set offsets within the group by adjusting control positions on the slave channels. Note that you may use links as an alternative to VCA grouping where you wish to group specific elements of a channel. For example, to link the faders and EQ but keep other processing controls independent. See Page 224 for more details on linking.

Creating a VCA Group 1. Put the VCA master into access, either by pressing its fader strip SEL button, or entering the channel type (VCA VCA) VCA and number from the ACCESS CHANNEL/ASSIGN control panel.

This puts the VCA master into access as indicated on the ACCESS CHANNEL/ASSIGN control panel’s CHANNEL and LABEL displays. 2. Now press the VCA button, located on the BUS ASSIGNMENT panel in the centre section of the console:

The VCA button flashes to indicate that it is active, and across the console the fader SEL buttons flash, in green, to indicate possible sources for your chosen master.

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Chapter 4: The Centre Section VCA Grouping 3. Press the SEL buttons on the fader strips you wish to assign to the VCA group. Remember that you can assign any type of channel to a VCA including output masters such as groups or auxes.

The fader SEL buttons stop flashing and change colour from green to red to indicate that the channels are assigned to the selected VCA master. On each assigned channel, the VCA master number is shown in the figure of eight display: •

VCA 1 to 8 are indicated by a single number – 1 2 3 etc.

•

VCA 9 is displayed as 1.

•

VCA 10 is displayed as 2.

•

VCA 11 is displayed as 3.

•

VCA 12 is displayed as 4.

•

VCA 13 is displayed as 5.

•

VCA 14 is displayed as 6.

•

VCA 15 is displayed as 7.

•

VCA 16 is displayed as 8. 4. To remove an assignment press the red fader SEL button again.

It reverts to its flashing green status, and the group assignment display goes blank.

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Chapter 4: The Centre Section VCA Grouping 5. You may now control the following from the VCA master: faders, mutes, AFL, PFL, input gain, auxiliary send, panning and image controls. Note that the VCA grouping behaves like a true analogue VCA. Therefore, if the VCA master fader is not at 0dB when the slave faders are assigned, the slaves will move by the dB offset to reflect their new true level. In addition, when the VCA master fader is closed, a slave fader cannot be opened. In addition, if you mute the VCA master, all slaves mute. You cannot deselect mute at the slaves unless you first deselect mute at the VCA master. 6. To set offsets within the group, adjust the control positions on the slave channels. 7. To set up the next VCA master, put the next VCA master into access.

The flashing green and steady state red fader SEL buttons update to reflect the current assignments to the new master, and allow you to set the next group. 8. Repeat until all your assignments are made, and then deselect VCA, VCA on the BUS ASSIGNMENT panel, or press ESC, ESC on the ACCESS CHANNEL/ASSIGN control panel, to exit the VCA set up mode. Note that a channel may only ever be assigned to a single VCA master.

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Chapter 4: The Centre Section Links

Links Links Links are used to link any part of an odd and even pair of fader strips as an alternative to creating stereo channels for stereo sources. For example, you may wish to link the faders and EQ for a stereo source but adjust other processing functions separately. The grouped controls within a link may be selected from any of the Central Control Section’s modules. Links are created from the LINK control panel in the centre section of the console:

1. Put the odd numbered channel you wish to link into access, either by pressing its fader strip SEL button, or entering the channel type and number from the ACCESS CHANNEL/ASSIGN control panel.

Note that you cannot activate the MODL LINK button with an even channel or stereo channel in access. 2. Press the MODL LINK button located on the LINK panel.

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Chapter 4: The Centre Section Links 3. Now press the SEL buttons on the Central Control Section to select which audio modules you wish to link:

This links the selected modules of the odd and even channel pair (e.g. module strips 1&2, 3&4, etc.) with the odd module as master and the even module its slave. The link status is indicated by the illuminated LNK LED on both the odd and even fader strip..

You can create offsets between channels by adjusting control positions on the slave (even) channel. Now return to the master (odd) channel and turn a linked control to adjust both channel positions while retaining the offset. 4. To clear a link, access the master odd channel, press MODL LINK again, and deselect the SEL buttons on the Central Control Channel.

The module link is cleared.

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Chapter 4: The Centre Section User Panel

User Panel Beside the main fader strips is the console’s user panel. A number of standard options exist for this panel covering functions such as Communications and Machine control. As each system will vary, please refer to your console specification for more details.

Channel Display Views The CHANNEL DISPLAY buttons are used to control what is displayed across the fader strip Channel displays:

Note that the BRD, BRD DIG, DIG REC and SURR buttons are reserved for future implementation. The USE SNS and FC PRES buttons are used to change the INFO window (the black area located below the channel meter): •

The default USE SNS (Use Touch Sense) mode reacts to the controls you touch on the channel fader strip. For example, if you touch an EQ1 EQ1G free control (EQ Gain Band 1) on a fader strip, the INFO window displays the EQ graph and the parameter value for the EQ Gain on Band 1. This parameter continues to be displayed until you touch a different free control on the channel strip.

•

Select the FC PRES button to change the INFO windows so that they follow the choice of FC PRESET buttons in the centre section. If you select an EQ FC PRESET, all INFO windows show the EQ graph, etc.

If the fader strips are blank, the console’s logo is displayed in the INFO window.

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Chapter 4: The Centre Section Fader Control of Levels

Fader Control of Levels The FADER CONTROL section enables faders to control other object types. For example, to control auxiliary send levels from the channel faders to set up a quick headphone balance. There are two approaches you may use to assign faders to a different object: •

Select and scroll through the object types on the faders.

•

Pre-select the object by copying it to the FADER CONTROL CLIPBOARD and then assign it directly onto the faders.

Using the first approach: 1. Select the object type by pressing one of the following buttons: •

EFF – The panning EFFECT control.

•

AUX – Send levels for any of the console’s 32 auxiliaries.

•

AFV ON – Audio Follow Video On level.

•

DIG AMP – Digital amplifier gain.

•

INSERT SEND – Insert send level.

•

DIR OUT – Direct output level.

The name of the selected object (e.g. Ax1 G) G flashes in the CLIPBOARD display and the faders move to reflect the positions for that object. 2. If you have selected AUX AUX, use the Page Left and Page Right arrow buttons to scroll up and down through the 32 sends.

Each time a new send or object is selected, the faders across the console move to reflect the current positions for that send. 3. Now move the faders to adjust the send or object levels. 4. When you have finished, deselect the object type button (e.g. AUX) AUX to return the faders to their normal operation. You may bank and layer switch while in the FADER CONTROL mode to gain access to all assigned levels across multiple banks and layers of channels. To quickly set all auxes on a channel to the same level (e.g. unity gain), switch aux 1 to the faders and set the fader to 0dB. Keep touching the fader and scroll through each aux number using the Page Left and Right arrow buttons – each aux send is set in turn to 0dB.

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Chapter 4: The Centre Section Fader Control of Levels The second approach is designed to provide fast access to a preselected object. For example, during a live production you may wish to switch the faders between channel fader level and a particular mix minus auxiliary send. 1. Select the object you wish to control by touching a control on the Central Control Section. For example, touch auxiliary send 1 gain to place it in the clipboard.

The name and number of the object is shown in the PARAMETER COPY/ASSIGN CLIPBOARD (e.g. A 1G). 1G 2. When you are ready to switch the object to the faders, press the USE TYPE button.

The faders are now controlling your selected object. 3. To switch back to normal fader level operation, deselect USE TYPE. Note that the FADER CONTROL and PARAMETER COPY/ASSIGN CLIPBOARD are one and the same. Therefore, be aware that if you update the clipboard to assign say auxiliary send 3 to a free control, this also puts auxiliary send 3 into the FADER CONTROL clipboard.

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Chapter 4: The Centre Section Fader Control of Levels Note that you may only assign valid parameters to the FADER CONTROL function. If you try to select for example, EQ, then the USE TYPE function cannot be selected.

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Chapter 4: The Centre Section Strip Control

Strip Control The STRIP CONTROL panel provides options for the console’s free control and fader label displays.

Free Control Views The VIEW FC (View Free Control) buttons located on the STRIP CONTROL panel are used to change what is shown on the free control alphanumeric displays:

By default, the USE SNS (Use Touch Sense) button is selected. In this mode, the alphanumeric displays show the parameter function (e.g. EQ1G – EQ Band 1 Gain) until the control is touched, when the display then updates to show the parameter value (e.g. 6dB). 6dB 1. To switch the displays so that you may view parameter values without having to touch controls, press the FC VALUE button.

All alphanumeric free control displays update across the console to show their parameter values (e.g.. 6dB 6dB). dB 2. To switch the displays to always view the free control function, even while adjusting controls, press the FC CTRL button.

The free control displays will now always show the parameter function even if controls are touched (e.g. EQ1G). EQ1G 3. Press the USE SNS button to return to the default mode of operation.

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Chapter 4: The Centre Section Strip Control

Fader Label Views The LABEL buttons located in the STRIP CONTROL area are used to change what is viewed on the fader strip label displays, the destination names within the Signals display and the auxiliary names on the AUXILLIARY/ AUDIO FOLLOWS VIDEO panel.

1. Press DEFAULT to view the System Name. For example, INP1. INP1 Use this mode when you preparing a console configuration. This enables you to easily view where you are assigning your input channels, monitor returns, group masters, auxiliary masters, etc. 2. Press USER to view the user Channel Label. For example, Guest 1. 1 3. Press INHERIT to view the source label of the source assigned to the DSP channel. For example, Mic 1. 1 Remember that in the case of the fader strip label display, the name will be shortened to 4 characters. Note that if no source is assigned to a channel, the fader label continues to display the channel label until a source is assigned. For example, if you have used the names Guest 1, 1 Guest 2 and Guest 3 as channel labels, and Mic 1, 1 Mic 2 and Mic 3as 3 source labels for microphone inputs, when you begin to route sources to channels for the show, the fader labels will display Guest 1, Guest 2 and Guest 3 until a source is assigned. Therefore, if you look across the console and see Mic 1, 1 Mic 2 and then Guest 3 on your fader labels you know that the Guest 3 channel is not yet in use and available for a new guest microphone. In addition, this provides an overview of the routes made from the Signals display without viewing the display on the central control screen. For more details on how to program your Channel and Source Labels, please see Page 395.

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Chapter 5: Console Reset Introduction

Chapter 5: Console Reset Introduction This chapter explains the reset capabilities of the console and covers the operation of productions, snapshots and sequences. Productions form the top level for user data storage and store all the settings required for a production or type of job. Productions may be recalled at any time, reducing the amount of setup time required before repeat or similar shows. Productions store low level settings, such as the DSP configuration, SRC settings, System display options and Metering display setup, in addition to snapshots, sequences and automation mixes. Within each production, folders may be created to store snapshots and sequences. Snapshots are one-shot memories of the console, and provide the ability to store different mixes/setups for recall before or during a show. For example, you may use snapshots to recall a different mix for each band appearing in a live entertainment show. Or, snapshots may be used to recall scene changes during a live theatre production. All production data (Productions, snapshots and automations mixes) are stored on the console’s internal user data flashcard. You may export a production, a folder, an individual snapshot or automation mix to USB interface or network drive for transfer to other systems. Sequences are provided for convenient recall of snapshots during a live broadcast or theatre production. A sequence is a list of snapshots which can be loaded in sequence during a live show. The transition between snapshots in a sequence may be cross faded. Note that the sequence itself does not store any settings, but simply creates a list of pointers to snapshots stored within the production folder. You should create a new production for each new client or type of work. For example, a production named ‘Olympic Games 2004’ may store the low level settings required for a series of shows. Within this production, you may then create a number of folders to store and recall snapshots to bring back different signal routing, DSP settings and console layouts, for each show transmission. Remember to save the settings of the console regularly, either by saving a new production or updating the current production. Even if you have saved several snapshots, they are not stored permanently on the internal flashcard until you update the production. To help understand which elements of the console are stored where, let’s take a closer look at what is stored in productions and snapshots.

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Chapter 5: Console Reset Data Storage Structure

Data Storage Structure The diagram below shows the console’s data structure in more detail:

Two separate flash cards are used: one to hold the system’s application software (System Flashcard) and one to hold user data including productions (Data Flashcard). For more details on the system flash card, please see Page 456. The data flash card may store any number of user productions plus Configuration data (Config). The Configuration data stores settings specific to the console, and cannot be modified by the console operator. Configuration data includes the factory configuration, which is fixed at the point of specification - for example, the programming of the CRM 1 and 2 monitor selector panels. And, also data created using the Admin HD configuration tool, which may be modified by your system administrator. For more details on Admin HD, please refer to the “mc266 Techincal Manual”. In addition, the console’s warm start data is stored within the Configuration data partition. Warm start data is updated when you shut down the console, and is loaded back at the end of a restart. This enables the system to recover to its last operating state in the event of a power interruption.

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Chapter 5: Console Reset Data Storage Structure

What’s Stored in a Production? Production?

Each production holds multiple folders to store snapshots and sequences. Each production also holds multiple automation mixes, each one with its own Pass Tree. In addition, the production snapshot stores everything included in a snapshot plus the following low level user settings: •

DSP configuration.

•

Input and Output sample rate converter settings

•

System display options.

•

Metering display setup.

•

Fader bay ISO status.

This means that you can store the current settings of the console, including your balance, simply by updating or creating a new production. You only need to create folders and snapshots if you wish to store and recall different setups within the same production. As productions store and recall low level settings which may cause a brief interruption to audio, they should not be loaded during a live show. Instead, use snapshots to recall settings while live on-air.

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Chapter 5: Console Reset Data Storage Structure

What’s Stored in a Snapshot? Snapshots are one-shot memories which may be used to recall settings during a live show. Every snapshot stores all of the following settings: •

DESK: DESK the Console Configuration for the main desk; the assignment of channels to fader strips across all banks and layers, and the current status of bank and layer switching.

•

DSP: DSP DSP Settings; all channel DSP settings including analogue input control.

•

CONN: CONN signal routing connections for all sources and destinations using the Signals display.

•

I/O: I/O remote mic preamp and router I/O settings such as router level and word length.

•

LABEL: LABEL User Labels; the source and destination labels as made from the Signals display.

•

BAY: BAY the Console Configuration for any isolated (ISO) bays; the assignment of channels to fader strips across all banks and layers, and the current status of bank and layer switching for isolated fader bays.

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Chapter 5: Console Reset Productions

Productions Productions are managed from the Production display. 1. Press the PROD FILE button, located on the SCREEN CONTROL panel, to view this display now:

Note that each time you press the PROD FILE button you toggle between two pages – Production Production and File. File The current page is always highlighted at the top of the display – in our example, page 1 of 2. The display is divided into two main areas: at the top of the display you will see the name of the Active production; in the lower part of the display are listed all the productions stored on the internal user data flash card. To the right of each production name you will see the date and time when the production was last saved or updated. You may also see a padlock icon indicating that the production is protected. The four soft keys located above the trackball provide access to a number of production functions: 2. Focus on the lower part of the display, as shown above, and the following soft key functions are available:

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•

LOAD – loads the selected production settings to the console.

•

NEW – creates a new production snapshot/sequence folders and mixes.

•

SAVE – creates a new production by saving the current console settings, including any snapshot/sequence folders and mixes.

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Chapter 5: Console Reset Productions 3. Press the PAGE button, located above the trackball, to access the second level of functions: •

UPDT – saves the current console settings into the selected production.

•

PROT – protects the selected production.

•

DEL – deletes the selected production.

•

BKUP – shows/hides any backup productions. 4. Now focus on the Active production name at the top of the display:

The second page of soft key functions update to: •

UPDT – as above.

•

PROT – as above.

•

DEL – as above.

•

EDIT – edits the selected production name.

Let’s look at these operations in more detail.

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Chapter 5: Console Reset Productions

Loading a Production You can load stored settings to the console at any time by loading a production. Note that when you load a production you will lose the current settings of the console, so make sure that you have saved these settings if you wish to retrieve them at a later date. If you do make a mistake, don’t panic! Every time a production is loaded, a backup of the current console settings is created in the backup production memory. See Page 246 for more details. 1. Press the PROD FILE button, located on the SCREEN CONTROL panel in the centre section of the console.

The Production display appears on the centre control screen:

2. Select the production you wish to load from the lower part of the display using the trackball or navigation controls, for example Olympic Games 2004. 2004

The selected production is highlighted in black. 3. Press the LOAD soft key, above the trackball, to complete the operation.

The console status will update, and the display now shows that Olympic Games 2004 is the Active production. For additional confirmation, watch the top of the display and you will see a red loading… message indicating that production data is being loaded.

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Chapter 5: Console Reset Productions

Saving a New Production You can save the current settings of the console, including any snapshot/sequence folders and automation mixes, into a new production using the SAVE function. If you want to clear out any existing snapshot/sequence folders or automation mixes in the memory, then create a new production using the NEW function, see Page 243. It is a good idea to save and organise your productions early on. Don’t overwrite your studio’s setup production with your own settings! Instead, save a new production for your own templates or for a particular show. To save a new production: FILE 1. If not already selected, press the PROD FI LE SCREEN CONTROL button to access the Production display. 2. Using the trackball or navigation buttons focus on the list of productions in the lower part of the display.

The four soft key functions update to show LOAD, LOAD NEW and SAVE. SAVE 3. Press the SAVE soft key to save the current console settings into a new production:

A new entry appears in the productions list with a default name (e.g. production 0042 0042). 42 This entry contains all the settings of the console and is time and date stamped. The new production automatically becomes the Active production as shown on the display.

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Chapter 5: Console Reset Reset Productions

Renaming a Production To rename the production: 1. Using the trackball or navigation buttons focus on the Active production name at the top of the display. 2. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show UPDT, UPDT PROT, PROT DEL and EDIT. EDIT 3. Press EDIT EDIT:

A green cursor appears highlighting the first letter of the existing name, in this case the letter p. 4. Edit the name by typing a new name on the keyboard. Note that as you type, you overwrite the existing name. Therefore, rather than worrying about deleting existing characters, type your new name and then press the space bar to remove any remaining characters from the name. 5. When you have finished, press the Enter button on the keyboard to confirm the new name.

This completes the naming operation. 6. If you make a mistake or want to exit the naming mode, press the Esc button on the keyboard or deselect the EDIT button.

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Chapter 5: Console Reset Productions

Updating a Production Having saved your settings in a new production, and renamed it, you should continue to save your settings regularly as you work by updating the active production. Note that updating overwrites the settings on the user data flash card. Therefore, make sure that you have selected the correct production to update. To avoid accidental updates to important productions, always protect them using the Protect function, see Page 241. If you do make a mistake, don’t panic! Every time a production is updated, a backup of the current console settings is created in the backup production memory. See Page 246 for more details. There are two ways to update a production: •

From the Production display using the UPDT soft key.

•

From the SNAPSHOT/SEQUENCE panel using the UPDT PROD button – this method allows you to update the active production regardless of which display you are currently viewing.

You will find that the UPDT PROD button also acts as a reminder to help you save your settings regularly. Each time you save or update a snapshot, or create or update an automation pass, the UPDT PROD button flashes. 1. Press the UPDT PROD button to update the active production. Note that if the production is protected you will not be able to update it; the UPDT PROD button continues to flash. Go to the Production display and unprotect the active production. Now you can use UPDT PROD to update settings while working.

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Chapter 5: Console Reset Productions To update a production from within the Production display: 1. Select the production by focussing on its name either using the trackball or navigation buttons. Note that the Active production, production0042 production0042, 42 is selected by default.

2. Press the UPDT (Update) soft key, located above the trackball.

The selected production is overwritten with the current console settings. You can confirm this by looking at the new date and time stamp. For additional confirmation, watch the top of the production display and you will see a red saving… message indicating that the production data is being saved. Note that a protected production cannot be updated.

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Chapter 5: Console Reset Productions

New Production The NEW soft key creates a new production with an empty set of snapshot/sequence folders and mixes. Use this before saving a production when you wish to clear out any existing snapshots/sequences or mixes from the current console memory. To create a new production: 1. If not already selected, press the PROD FILE SCREEN CONTROL button to access the Production display. NEW W soft key: 2. Press the NE

A new untitled production is created as the Active production at the top of the display. If you now change displays to view Snapshots or Mixes, Mixes you will find that all folders and mixes have been emptied from the console memory.

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Chapter 5: Console Reset Productions 3. To save the current console settings into the new empty production and give it a name, press the SAVE soft key:

All current console settings are saved into the production which is given a default name (e.g. production production 0042 0042). 42 The production is time and date stamped and may be renamed or protected in the usual manner.

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Chapter 5: Console Reset Productions

Deleting a Production Deleting a production removes the production and all of its contents – snapshots, sequences and mixes - from the internal user data flash card. To prevent accidental deletion, the current production or protected productions may not be deleted. 1. If not already selected, press the PROD FILE SCREEN CONTROL button to access the Production display. 2. Select the production you wish to delete either using the trackball or navigation buttons (e.g. DTM 2004): 2004

The selected production is highlighted in black. 3. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show UPDT, UPDT PROT, PROT DEL and BKUP. BKUP 4. To delete the production, press DEL DEL.

The production is deleted. Note that a protected production or the current production cannot be deleted.

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Chapter 5: Console Reset Productions

Protecting a Production A protected production cannot be updated or deleted. Always protect your productions when leaving the console as this will prevent accidental changes from using UPDT or DEL. DEL 1. If not already selected, press the PROD FILE SCREEN CONTROL button to access the Production display. 2. Select the production you wish to protect either using the trackball or navigation buttons.

The selected production is highlighted in black. 3. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show UPDT, UPDT PROT, PROT DEL and BKUP. BKUP 4. To protect the production, press PROT PROT:

A padlock icon appears on the right hand side of the display to show that the production is now protected.

Copying and Exporting Productions A complete production, or elements of a production (such as a folder, snapshot or mix) can be exported to a USB interface or network drive for archiving or transfer to another console. In addition, you can use this function to copy elements from one production to another. See Page 266 for full details on the File Import/Export functions.

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Chapter 5: Console Reset Productions

Backup Productions Productions Every time a production is loaded, updated, deleted or cleared using NEW production, a temporary backup of the current console settings is created in the backup productions memory. This provides several levels of undo if you perform an operation accidentally without first saving your settings. For example, whilst setting up for Porsche Super Cup 2005, 2005 the operator forgets to update the production. He/she decides to load a different production to check the settings for Olympic Games 2006 2006. In the background, the console automatically creates a backup production of Porsche Super Cup 2005. The operator then loads back the production for Porsche Super Cup 2005. It is now when he/she realises their mistake. The Backup production memory provides a way of recovering the ‘lost’ settings as follows: 1. If not already selected, press the PROD FILE SCREEN CONTROL button to access the Production display. 2. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show UPDT, UPDT PROT, PROT DEL and BKUP. BKUP 3. Press the BKUP soft key to view the backup productions stored in memory:

The productions list updates showing any permanent productions in black and any backup productions in yellow.

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Chapter 5: Console Reset Productions Following our example, one of the backup productions is named – Porsche Super Cup 2005 (Time stamp: 12:21:20). This is the backup production which was automatically created when the operator loaded Olympic Games 2004. 2004 Note that the name of the backup production is taken from the Active production, in our example Boxing 2004. 2004 However, the backup is not a copy of the Active production but a backup of the console settings before the load operation was performed. This means that the settings stored within the backup production are the settings which the operator forgot to save before changing. To recover the settings: 1. Select the yellow entry named Porsche Super Cup 2005 (Time stamp: 09:23:33) from the production list.

The backup production is highlighted in black. 2. Deselect the PAGE button and press the LOAD soft key, above the trackball, to load the backup production.

The backup production settings are loaded into the console and the operator’s settings are restored! 3. To save these settings permanently, you must now use SAVE to save the settings in a new production with a new name, or UPDT to update the original Boxing 2004 production.

Warning If you do not save or update the settings to a permanent production, then they may be lost forever. The backup productions memory is a first-in first-out memory holding a maximum of 10 backup productions. 4. Having finished with the backup production memory, it is best to deselect the BKUP button to hide the backup productions from normal view. This avoids any confusion between the permanent and backup productions. A backup production is created each time a production is loaded, updated, deleted or when NEW production is used to clear any existing folders or mixes. For example, it may be used if you update a production with the wrong settings, or if you press NEW instead of SAVE and accidentally clear some snapshot folders by accident. To recover your settings, load the backup production with the same name as the active production which you accidentally updated or cleared. This will contain all the settings before you pressed NEW or UPDT. UPDT

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Chapter 5: Console Reset Folders

Folders Folders are used to organise snapshots and sequences within a production. Each production may contain any number of folders, and within each folder you may store multiple snapshots and sequences. For example, you may use folders to organise the snapshots and sequences required for different live broadcast events within a single production. Note that when using sequences, it’s important to consider how you organise data within your folders. A sequence may reference any snapshot contained within the same folder, but not snapshots from a different folder. For example, you can’t include a snapshot stored in ‘Music’ if the sequence is stored in ‘Football 2004’. If you do wish to use snapshots stored within different folders, then use File Import/Export to copy the snapshots into the required folder. See Page 266 for details. Note that the Backup Folder is a special folder used to store backup snapshots. This Folder cannot be deleted or renamed. See Page 262 for details.

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Chapter 5: Console Reset Folders

Creating a New Folder You can create a new folder either from the Snapshots display or from the Sequence display. For now, let’s work within the Snapshots display. 1. If not already selected, press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to view the Snapshots display. 2. Using the trackball or navigation buttons, select a blank grey folder from the Folders column on the left hand side of the display.

The folders column is now in focus (outlined by the black and white dotted line). 3. Now press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of Folder soft key functions.

The four soft key functions update to show NEW, NEW EDIT and DEL. DEL 4. Press NEW to create a new folder.

A new folder entry appears in the Folders column with a default name (e.g. Folder 0000): 0000

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Chapter 5: Console Reset Folders

Renaming a Folder 1. To rename the folder, press EDIT EDIT:

A green cursor appears highlighting the first letter of the existing name, in this case the letter f. 2. Edit the name by typing a new name on the keyboard. Note that as you type, you overwrite the existing name. Therefore, rather than worrying about deleting existing characters, type your new name and then press the space bar to remove any remaining characters from the name. 3. When you have finished, press the Enter button on the keyboard to confirm the new name.

This completes the naming operation, and automatically steps down to the next folder in the list. 4. If you make a mistake or want to exit the naming mode, press the Esc button on the keyboard or deselect the EDIT button.

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Chapter 5: Console Reset Folders

Deleting a Folder To prevent accidental deletion of snapshots and sequences, only empty folders may be deleted. Therefore, first delete any snapshots or sequences contained within the folder before attempting this operation. 1. Select the folder you wish to delete either using the trackball or navigation buttons:

The selected folder and snapshot are highlighted in black. 2. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show NEW, NEW EDIT and DEL. DEL 3. To delete the folder, press DEL DEL.

The folder is deleted. Note that only empty folders may be deleted.

Exporting Folders A complete folder can be exported to a USB interface or network drive for archiving or transfer to another console. See Page 266 for full details on the File Import/Export functions.

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Chapter 5: Console Reset Snapshots

Snapshots Snapshots provide the ability to store different mixes/setups for recall before or during a live show. For example, you may use snapshots to recall different setups for a series of shows – e.g. Football; or to recall a different mix for each band appearing in a live entertainment show; or to recall scene changes during a live theatre production. Snapshots are organised within Folders within a production. If you save or update snapshots, remember to also update your production to save the new snapshots to the internal flashcard.

The Snapshots Display Snapshots are managed from the Snapshots display. 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to view the Snapshots display:

Note that each time you press the SNAP/SEQUENCE button you cycle through three pages – Snapshots, Snapshots Sequence and Edit Sequence. Sequence The current page is always highlighted at the top of the display – in our example, page 1 of 3. On the left hand side of the display you will see a list of Folders for the production. On the main part of the display you will see a list of snapshots contained within the selected folder.

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Chapter 5: Console Reset Snapshots 2. Using the trackball or navigation buttons, select a folder name (e.g. Music 2005): 2005

The selected folder is highlighted in black and its name appears in the Selected Folder title at the top of the display. The Snapshots list now shows all the snapshots contained with the selected folder. If the list of folders or snapshots is longer than the available display entries, you may use the rotary control or up/down scroll buttons to navigate up or down the list. When you scroll the display, the selected entry is used to re-centre the list allowing you to view all entries above and below your current selection. When snapshots are first saved, they are given a default name which gives the snapshot a unique number. You may then rename the snapshots at any time. If an S appears before the name of a snapshot, then this indicates that the snapshot is used within a sequence. Every snapshot also has a date and time stamp as shown in the Date and Time columns. The P column is used to identify any snapshots which have been write-protected. This prevents snapshots from being updated or deleted accidentally during operation. At the bottom of the display, the Memo box may be used to make notes for a particular snapshot. The Last Snap box displays the name of the snapshot which was last loaded.

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Chapter 5: Console Reset Snapshots

Loading a Snapshot 1. If not already selected, press the SNAP/SEQUENCE SCREEN CONTROL button to access the Snapshots display.

2. Select a folder on the left of the display either using the trackball or navigation controls.

The selected folder is highlighted in black and its name appears in the Selected Folder title at the top of the display. The Snapshots list now shows all the snapshots contained with the selected folder. 3. Using the trackball or navigation buttons, select one of the snapshots from the list:

The snapshot name is highlighted in black. 4. Press the LOAD soft key, above the trackball, to complete the operation.

The console instantly updates to the loaded snapshot settings. Note that you can isolate individual fader strips, individual sources and destinations, or complete console elements from the snapshot recall so that you can protect settings on the console. Let’s look at these options.

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Chapter 5: Console Reset Snapshots

Isolating Fader Strips from a Snapshot Load You may isolate a fader strip from the snapshot recall by selecting the SNAP ISO button before using the LOAD function. This isolates the complete channel’s DSP from the snapshot recall. For example, to isolate your main presenter’s channel and other key feeds during a live production.

Note that a system option provides the ability to disable all SNAP ISO buttons across the console, see Page 419 for details.

Isolating Sources and Destinations from a Snapshot Load You may isolate particular sources and destinations from a snapshot recall by selecting the Isolate function from the Signal Settings display. For example, you may wish to protect important signals, such as main sum distribution or monitor feeds, from accidental reset. See Page 404 for details.

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Chapter 5: Console Reset Snapshots

Filtering Snapshots

The FILTER MODE buttons on the SNAPSHOT/SEQUENCE front panel allow you to isolate the different console elements from a snapshot recall. Select these buttons before you load a snapshot to isolate the following elements: •

DESK: DESK the Console Configuration for the main desk; the assignment of channels to fader strips across all banks and layers, and the current status of bank and layer switching..

•

DSP: DSP DSP Settings; all channel DSP settings including analogue input control.

•

CONN: CONN signal routing connections for all sources and destinations using the Signals display.

•

I/O: I/O remote mic preamp and router I/O settings such as router level and word length.

•

LABEL: LABEL User Labels; the source and destination labels as made from the Signals display.

•

BAY: BAY the Console Configuration for any isolated (ISO) bays; the assignment of channels to fader strips across all banks and layers, and the current status of bank and layer switching for isolated fader bays.

To use the filtering, select the button or buttons for the elements you do NOT want to recall and then load the snapshot. Note that you may select all buttons except one to load only a single element, for example signal routing.

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Chapter 5: Console Reset Snapshots

Saving a Snapshot 1. If not already selected, press the SNAP/SEQUENCE SCREEN CONTROL button to access the Snapshots display. 2. Select the folder you wish to save into on the left of the display, either using the trackball or navigation buttons.

The selected folder is highlighted in black and its name appears in the Selected Folder title at the top of the display. The Snapshots list now shows all the snapshots contained with the selected folder. 3. Press the SAVE soft key, located above the trackball, to save all the current settings into a new snapshot:

A new snapshot appears at the bottom of the list. It is given a default name (e.g. snapshot0001), snapshot0001 and date and time stamped. Note that all settings are always saved into a snapshot regardless of the front panel SNAP ISO or FILTER selections.

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Chapter 5: Console Reset Snapshots

Renaming a Snapshot You may give the snapshot a new name using the console keyboard: 1. From the Snapshots display, select the folder and snapshot you wish to modify either using the trackball or navigation buttons.

The selected folder and snapshot are highlighted in black. 2. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show PROT, PROT EDIT and DEL. DEL 3. To rename the snapshot, press EDIT EDIT:

A green cursor appears highlighting the first letter of the existing name, in this case the letter s. 4. Edit the name by typing a new name on the keyboard. Note that as you type, you overwrite the existing name. Therefore, rather than worrying about deleting existing characters, type your new name and then press the space bar to remove any remaining characters from the name.

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Chapter 5: Console Reset Snapshots 5. When you have finished, press the Enter button on the keyboard to confirm the new name.

This completes the naming operation, and automatically steps down to the next snapshot in the list. 6. If you make a mistake or want to exit the naming mode, press the Esc button on the keyboard or deselect the EDIT button.

Adding a Memo You may use the two lines below the snapshot name to add a memo. For example, you may wish to remind yourself about the artist’s position on stage for a particular snapshot.

1. Repeat steps 1 to 4 for naming the snapshot.

The selected snapshot is highlighted in black with the green cursor highlighting a letter. 2. Press the Enter button on the keyboard.

The cursor moves down to the first line of memo information and you may type to enter your information. 3. Press Enter again to access the second line of the memo field. 4. When you are finished, press the Esc button on the keyboard or deselect the EDIT button to exit the memo field.

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Chapter 5: Console Reset Snapshots Snapshots

Updating an Existing Snapshot Updating a snapshot overwrites the settings within the snapshot memory. Therefore, before using this feature, make sure you save the current snapshot settings into a new memory to allow you to recover the original snapshot data if you make a mistake. 1. If not already selected, press the SNAP/SEQUENCE SCREEN CONTROL button to access the Snapshots display: 2. Select the folder and snapshot you wish to update either using the trackball or navigation buttons:

The selected folder and snapshot are highlighted in black. 3. Press the UPDT (Update) soft key, located above the trackball, to update the snapshot with the current console settings.

If the PAGE button is selected, deselect it first to access the LOAD, LOAD SAVE and UPDT soft key functions. Pressing UPDT overwrites the selected snapshot with the new console settings, as indicated by the new date and time stamp.

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Chapter 5: Console Reset Snapshots

Backup Snapshots Backup snapshots may be used to provide levels of undo when setting up the console. A backup snapshot is automatically stored by the console every n seconds. You can set how often the backup snapshots are stored from the System display, see Page 421. For example, you may set the backup snapshot interval to every 30 seconds. You can also set how may backup snapshots are stored before the first is overwritten. For example, you might limit the number to 20 backup snapshots giving yourself a 10 minute ‘undo’ window. All the backup snapshots for a particular production are stored within a special folder named ‘BACKUP FOLDER’; this Folder cannot be renamed or deleted. At any point during the operation of the console, you can use the backup snapshot system to revert to an earlier configuration. For example, while laying out the console, you make a mistake and overwrite the fader strip assignments for Bank 1. To revert to the latest backup snapshot: 1. Select the BACKUP FOLDER on the left of the display either using the trackball or navigation controls:

The Snapshots list now shows all the backup snapshots, each one time and date stamped.

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Chapter 5: Console Reset Snapshots 2. Using the trackball or navigation buttons, select the latest backup snapshot from the list:

The snapshot name is highlighted in black. 3. Press the LOAD soft key, above the trackball, to complete the operation.

The console updates to the backup snapshot settings. 4. If your mistake was made longer than say 30 seconds ago, then you may need to load an earlier backup snapshot to undo your error. Note that the backup snapshot time interval and the number of backup snapshots are set from the System display, see page 421 for details. To disable the backup snapshot system, set the number of backup snapshots to 0. You may wish to do this during a live show as each automatic save causes a brief interruption to console control.

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Chapter 5: Console Reset Snapshots

Deleting a Snapshot Deleting a snapshot removes the snapshot from the internal memory. Therefore, before using this feature, make sure you save the current snapshot settings into a new memory to allow you to recover the original snapshot data if you make a mistake. 1. If not already selected, press the SNAP/SEQUENCE SCREEN CONTROL button to access the Snapshots display: 2. Select the folder and snapshot you wish to delete either using the trackball or navigation buttons:

The selected folder and snapshot are highlighted in black. 3. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show PROT, PROT EDIT and DEL. DEL 4. To delete the snapshot, press DEL DEL.

The snapshot is deleted.

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Chapter 5: Console Reset Snapshots

Protecting a Snapshot A protected snapshot cannot be updated or deleted. Always protect important snapshots as this will prevent accidentally overwriting a snapshot using UPDT or deleting the snapshot using DEL. DEL 1. If not already selected, press the SNAP/SEQUENCE SCREEN CONTROL button to access the Snapshots display: 2. Select the snapshot you wish to protect either using the trackball or navigation buttons.

The selected snapshot is highlighted in black. 3. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show PROT, PROT EDIT and DEL. DEL 4. To protect the snapshot, press PROT PROT:

A P appears in the Protect column on the right hand side of the display to show that the snapshot is now write protected.

Exporting Snapshots Individual snapshots can be exported to a USB interface or network drive for archiving or transfer to another console. See Page 266 for full details on the File Import/Export functions.

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Chapter 5: Console Reset File Import/Export

File Import/Export The console’s file import/export functions can be used for a number of applications: •

To archive or transfer production data between systems.

A complete production or elements of a production (such as a folder, snapshot or automation mix) can be exported to a USB interface or a network drive. Note that Lawo cannot guarantee compatibility with all available USB interfaces. Therefore, please check the compatibility of your USB interface on your system. In a networked installation, the Admin HD configuration software can be used to define a central file server accessible from each console within the network. This allows users to transfer their own production data to or from any system. Production data is fully compatible with any mc2 console, regardless of the hardware configuration. For example, you can load a snapshot saved on smaller console to a larger console in order to recall a setup in another studio. You can even load a mc290 production onto a mc266 or vice versa! •

To archive or transfer system log files for servicing purposes.

Any errors recorded by the system are stored within system log files. You may be asked to export these from your system by a service engineer. •

To copy elements from one production to another internally within the console’s data flashcard.

For example, to copy a snapshot to a different production folder.

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Chapter 5: Console Reset File Import/Export

The File Display All file import/export functions are handled from the File display. 1. Press the PROD FILE button, located on the SCREEN CONTROL panel, to view this display now:

Note that each time you press the PROD FILE button you toggle between two pages – Production and File. File The current page is highlighted at the top of the display – e.g. page 2 of 2. The display is divided into two sides: •

On the left hand side (LHS) you are always viewing files or directories on the console’s internal data card.

•

On the right hand side (RHS) you can view files or directories on one of the following storage devices: o

The internal data card.

o

A mounted USB device (connected to the USB port in the arm rest of the console).

o

A network Admin HD).

drive

(pre-configured

within

Using the EXP (Export) soft key function, a file or directory is exported from left to right – i.e. from the internal flashcard to the internal flashcard, USB or network drive. Using the IMP (Import) soft key function, a file or directory is imported from right to left – i.e. from the internal flashcard, USB or network drive to the internal flashcard.

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Chapter 5: Console Reset File Import/Export If the storage device is mounted, then next to it’s icon you will see that it is Ready: Ready

Below the device icon, you will see the current file or directory Selection– Selection in our example, the Productions directory on the left hand side and the / (root) directory on the right hand side. Also within this area you will see the amount of free storage space in Mb on your selected device. Below the Selection area are listed all the available files or directories within that selection. Each file or directory is displayed with a prefix to indicate its type. In our example, P for each zipped Production file and a green A for the Active Production. You can also see the date and time when the file was last updated and the file size in Kb. Note that zipped files cannot be opened. Therefore, if you wish to copy or export an individual production element, such as a snapshot, mix or folder, then you must first make the production active by loading it. See Page 238 for details. Note that the Productions shown in yellow are backup productions. See Page 246 for details.

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Chapter 5: Console Reset File Import/Export

File Selection and Navigation Files and directories appear within the File display exactly as they would on your computer, and the principles of file selection are identical for internal and external storage devices. To get used to the display, let’s look at how to navigate and select files within the internal data card: 1. If not already selected, press the PROD FILE SCREEN CONTROL button to access the File display. 2. Using the trackball or navigation buttons focus on the left hand side of the display and scroll up to the top of the list until you can see an icon showing a directory followed by two green dots (shown opposite). 3. Click on this icon to navigate up one level. 4. Keep clicking on this icon until you reach the top level of the internal data card.

You should see two directories– system logfiles and productions: productions

5. To open a directory (e.g. System logfiles) logfiles either select it and then press the SEL soft key, or double-click on the directory name.

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Chapter 5: Console Reset File Import/Export The display updates to show any files or directories within your selection – in our example, message files. These files are prefixed with the L file type flag:

6. Return to the top level of the internal data card by clicking on the icon opposite, and this time double-click on Productions to open the Productions directory:

The display updates to show all the productions stored on your system:

Note that this includes any backup productions which are displayed in yellow. See Page 246 for details.

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Chapter 5: Console Reset File Import/Export One production is marked as the Active Production Production. roduction This production directory can be opened in order to view or select its contents. Other productions on the internal data card are zipped and are prefixed with the P file type flag. They can only be selected as a complete file, and cannot be opened to view or individual elements. Therefore, if you wish to copy or export an individual production element, such as a snapshot, you must first make the production active and then return to the File Fil display. 7. Double-click on the Active Production to open it.

The display updates to show two further directories: Snapshots and Automation: Automation

8. Double-click on Snapshots to open the snapshots directory.

The display updates to show any snapshot Folders stored within the Active Production. Folders are prefixed with an F file type flag:

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Chapter 5: Console Reset File Import/Export 9. Double-click on a Folder to open it.

The display updates to show the individual snapshots within the folder. Snapshot files are prefixed with an S:

Automation mixes are accessed via a similar hierarchy by returning to the Automation directory within the Active Production. Production An individual Automation mix is prefixed with an A. Remember that at any time, you can go back one level by clicking on the icon opposite.

Sorting Files and Directories To help locate a file or directory, you can choose to sort the lists by name (alphabetically according to the filename) or date/time. 1. Using the trackball or navigation buttons, focus on the list of files/directories on either the left or right sides of the display. 2. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The first two soft key functions update to show S NM and S TM. TM 3. Press S NM to sort the list by name, or S TM to sort by time.

The list updates accordingly.

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Chapter 5: Console Reset File Import/Export

Which Files Can Your Export? You can export the following files from the internal data card: •

A green A indicates the Active Production. The active production can be exported in full, or opened in order to select individual elements such as a folder, snapshot or automation mix.

•

P – zipped Production files. These are zipped files which cannot be opened. They can be exported as a file to the external storage device, imported on another console, and then unzipped within that console to access their individual elements.

•

F – an individual Folder within the Active Production. By selecting a Folder, you can easily export all the snapshots for a particular show.

•

S – an individual Snapshot within the Active Production.

•

A – an individual Automation Mix within the Active Production.

•

L – a message file (system log file).

Warning Having exported files to a USB interface or Network drive, you can view and rename them on your computer. However, if you edit the content of the file, or modify its file extension, you may corrupt the file and lose data! The following file extensions must be intact for the file to be imported successfully: •

.Lawosn – a snapshot

•

.Lawopn – production

•

.Lawofn Lawofn - folder

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Exporting a File You can export any of the file types described to either USB or a networked drive. This allows you to export a complete production, as a zipped file, or an element of a production such as folder, snapshot or mix. All operations are performed in a similar manner. Let’s start by exporting a zipped Production to USB. 1. First, connect your USB interface to the USB port located in the console arm rest. 2. If not already selected, press the PROD FILE SCREEN CONTROL button to access the File display. 3. Using the trackball or navigation buttons click on the USB interface icon at the top right of the display.

The four soft key functions update to show INT, INT USB and NET. NET •

If the USB interface is mounted, then the USB icon will show it as Ready, Ready and the right hand side of the display will show any files or directories already stored on the device:

•

If the USB interface is not mounted, then the status is shown as not available: available

4. Press the USB soft key to mount the USB interface.

The device should now show as Ready. Ready If not, check your connection or try a different USB device. 5. Use the trackball or navigation buttons to select the destination directory on the right hand side of the display. If you wish you can create a New directory on the USB interface to help organise your files. See Page 280 for details.

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Chapter 5: Console Reset File Import/Export 6. Then select the file you wish to export on the left hand side of the display – in our example, production003 production003. 003

The selected file and destination are displayed in the Selection areas on the left and right hand sides of the display:

7. Make sure that the PAGE button is deselected on the SCREEN CONTROL panel, and press the EXP EXP soft key.

The file is copied from the internal data card onto your USB interface:

8. Once the data has finished transferring, you can unplug the USB device. Note that there is no need to dismount the USB interface before you remove it. However, DO NOT unplug the USB interface while data is transferring as this may result in loss of data. mc²66

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Chapter 5: Console Reset File Import/Export Import/Export

Exporting to a Network Drive Follow the same steps as described above to export a file or directory to a network drive. Note that the drive must be configured by your system administrator using the Admin HD configuration software for it be available. Once configured, you can mount the drive in step 3 by pressing the NET soft key:

Note that if files on the network drive are modified from another console, or from an external computer, then to see these changes you may need to refresh the File display as follows: 1. Using the trackball or navigation buttons click on the list of files/directories on the right hand side of the display.

The four soft key functions update to show SEL, SEL NEW and IMP. IMP 2. Press the PAGE button on the SCREEN CONTROL panel to access the second set of soft keys.

The four soft key functions update to show S NM, NM S TM, DEL and RFS. RFS 3. Press the RFS soft key to refresh the File display.

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Chapter 5: Console Reset File Import/Export

Importing a File You can import files from a USB interface or networked drive in a very similar manner. Let’s take the example of importing a snapshot into an existing folder within the Active Production. 1. First, connect your USB interface to the USB port located in the console arm rest. 2. If not already selected, press the PROD FILE SCREEN CONTROL button to access the File display. 3. Using the trackball or navigation buttons select the destination directory on the left hand side of the display – in our example, Moto GP 2006. 2006 4. Then click on the USB interface icon at the top right of the display.

The four soft key functions update to show INT, INT USB and NET. NET 5. Press the USB soft key to mount the USB interface.

The device should now show as Ready. Ready 6. Now select the file you wish to import on the right hand side of the display – in our example, the snapshot Setup. Setup

The selected file and destination are displayed in the Selection areas on the left and right hand sides of the display:

7. Now make sure that the PAGE button is deselected on the SCREEN CONTROL panel, and press the IMP soft key to import the file. 8. Once the data has finished transferring, you can safely unplug your USB device. 9. If you now select the Snapshots display, you will find the imported snapshot within your selected Folder.

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Copying Files Files Internally within the System You can also use the file export and import functions to copy files internally within the system. For example, if you wish to copy a snapshot from one production to another. As you cannot open up a zipped production to select individual elements, you will need to perform this operation in several stages: 1. First, load the production which contains the snapshot you wish to copy from the Productions display. See Page 238 for details. 2. Now, go to the File display and on the right hand side, click on the internal drive icon.

You will see the contents of a temporary directory within the internal drive as your destination. This directory may be empty, or it may contain previously copied files. 3. Now, on the left hand side, open up the Active Production, Production the Snapshots directory, a folder and select the snapshot file to copy – in our example, snapshot 003: 003

4. Now make sure that the PAGE button is deselected on the SCREEN CONTROL panel, and press the EXP soft key to export the snapshot to the temporary directory.

Snapshot003 is copied to the temporary directory.

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Chapter 5: Console Console Reset File Import/Export 5. Next, return to the Productions display and make the production which you wish to copy to active. 6. Now go back to the File display. 7. On the left hand side, open up the Active Production and select the folder where you wish to copy the snapshot to as your destination – in our example, musa. musa 8. And, on the right hand side, select the snapshot you copied earlier as your source – snapshot003: snapshot003

9. Press the IMP soft key to import the snapshot to the Active Production Folder. 10. If you now select the Snapshots display, you will find the imported snapshot within your selected Folder. If you are using this operation to copy a lot of files, then it is a good idea to delete files from the temporary directory. See Page 281 for details. Note that the list of files on the right hand side of the display will only ever show files which can be imported to your selected destination. For example, if you have selected a snapshot folder, you will only see snapshots; if you have selected the Productions directory, then you will see productions. This prevents you from copying files to ‘illegal’ locations.

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Chapter 5: Console Reset File Import/Export

File Management In order to help manage your data on your external USB interface or networked drive, the File display enables you to create a new directory or delete a file or directory on the right hand side of the display. Note that these functions are designed to give you the basic tools to manage your export data: •

You cannot create new directories or delete files within the internal data card on the left side of the display. To perform these data management functions, go to the Snapshots, Snapshots Automation Automation or Production displays.

•

New directories are automatically named as New Directory 0001, 0001 New Directory 0002, 0002 etc. To rename a directory, or reorganise data, connect the USB stick or Network drive to your computer.

Creating a New Directory You can create a new directory within the temporary folder on the internal drive, or on your external USB interface or network drive. 1. If not already selected, press the PROD FILE SCREEN CONTROL button to access the File display. 2. Using the trackball or navigation buttons focus on the list of files/directories on the right hand side of the display.

The four soft key functions update to show SEL, SEL NEW and IMP. IMP 3. Press NEW to create the new directory.

The directory is automatically named:

Note that directories cannot be renamed from the File display. To edit the directory name or change the data structure on your USB interface or network drive, connect the device to your computer!

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Chapter 5: Console Reset File Import/Export Deleting a File or Directory You can delete files or directories within the temporary folder on the internal drive, or on your external USB interface or network drive. 1. If not already selected, press the PROD FILE SCREEN CONTROL button to access the File display. 2. Using the trackball or navigation buttons focus on the list of files/directories on the right hand side of the display, and select the file or directory you wish to delete:

3. Press the PAGE button on the SCREEN CONTROL panel to access the second layer of soft keys.

The four soft key functions update to show S NM, NM S TM, TM DEL and RFS. RFS 4. Press DEL to delete the selected file.

The file is deleted. Note that you cannot delete files or directories from the left hand side of the display. To manage your productions, folders, snapshots and automation mixes, use the Snapshots, Snapshots Automation or Production displays.

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Chapter 5: Console Console Reset Sequences

Sequences For convenient recall of snapshots during a live broadcast or theatre production, the mc266 provides real time sequence automation. A sequence is a list of snapshots which can be loaded in sequence during a live show. Note that the sequence itself does not store any settings, but simply creates a list of pointers to snapshots stored within the production folder. Multiple sequences may be created within each folder to deal with different versions of the show. For example, when rehearsing a live theatre production, the running order may vary. By creating multiple sequences, you have the option to play out any variation. You may also reference a single snapshot several times within each sequence. For example, in an entertainment show you may reference the same snapshot to return to presenter links between each music act. This means that any updates to the snapshot are carried through all occurrences within the sequence. Note that a sequence may reference any snapshot contained within the same folder, but not snapshots from a different folder. For example, you can’t add a snapshot stored in a folder called ‘Music’ to a sequence stored in ‘Football 2004’. Two displays are used to create and edit sequence automation:

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•

The Sequence display – allows you to create a sequence and save or update snapshots as you work through a rehearsal. This approach works well when the rehearsal runs in the same order as the show, as you can save snapshots and add them to the sequence in one operation.

•

The Edit Sequence display – allows you to add existing snapshots into a sequence offline. For example, if the rehearsal is unlikely to follow the same running order as the show, then it’s best to save your snapshots into the production folder from the Snapshots display, and create the sequence at a later time.

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Chapter 5: Console Reset Sequences Sequences are played out from the SNAPSHOT/SEQUENCE front panel controls. In addition to loading the sequence snapshots in order, you may also choose to skip single or multiple snapshots or revert back to the previous snapshot at the touch of a button:

In addition, you can cross fade between snapshots which are entered into a sequence to fade automatically from one scene to the next.

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Chapter 5: Console Reset The Sequence Display

The Sequence Display The Sequence Sequence display is the primary display for creating sequences. 1. Access the display by pressing the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, now:

Note that each time you press the SNAP/SEQUENCE button you cycle through three pages – Snapshots, Snapshots Sequence and Edit Sequence. Sequence The current page is always highlighted at the top of the display – in our example, page 2 of 3. The left hand side of the display lists the Sequences contained within the selected Folder - in our example, we have six sequences contained within a folder called Music. Music The main part of the display shows the list of the snapshots contained within the selected sequence Don Giovanni. Giovanni The green Active flag shows that Don Giovanni is the sequence activated for play out. The N, C and B flags are used when playing out sequences and indicate the following: •

N - the Next snapshot to be loaded.

•

C - the Current snapshot (i.e. the last snapshot loaded).

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B - the ‘Back’ snapshot. This will be whichever snapshot was last loaded before the current one.

Below the name of each snapshot are two lines reserved for memo information and details of the X-fade parameters (switch mode and fade time) which will be used if you enable cross fades during play out. You will also see the last date and time at which the snapshot was saved or updated. The padlock icon indicates that a snapshot is protected and therefore cannot be updated.

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Chapter 5: Console Reset The Sequence Display

Selecting a Folder Let’s start with basics of creating and managing the list of sequences within each folder. The selected folder is shown in the Folder title at the top of the display – e.g. Music: Music

To select a different folder: 1. Focus the display on the folder title and use the rotary control or navigation buttons to scroll through all the folders within the production.

The selected folder is highlighted in black and its name appears in the Folder title at the top of the display. The list of sequences sequences now shows all sequences contained with that folder. If no sequences have been created, then this list will be blank.

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Chapter 5: Console Reset The Sequence Display

Changing a Sequence 1. Press the SNAP/SE SNAP/SEQUENCE QUENCE button, located on the SCREEN CONTROL panel, to page to the Sequence display. 2. Using the trackball or navigation buttons focus the display on the Sequence title box:

3. Using the trackball, up/down buttons or rotary control select a different sequence from the list running down the left hand side of the display, for example Don Giovanni.

A series of functions for managing sequences become available on the four soft keys located above the trackball: •

NEW – creates a new sequence.

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LOAD – sets the selected sequence to active.

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ACT – switches the display back to the active sequence if you have navigated to a different folder or different sequence.

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NEXT – loads the Next snapshot in the sequence. 4. Press the PAGE button, located above the trackball, and a further set of functions appear:

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EDIT – edits the sequence name.

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DEL – deletes the sequence from the folder.

Let’s look at these operations in more detail.

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Chapter 5: Console Reset The Sequence Display

Creating a New Sequence 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Sequence display. 2. Using the trackball or navigation buttons focus the display on the Sequence title box.

The four soft keys above the trackball update to access the following functions: NEW, NEW LOAD, LOAD ACT and NEXT. NEXT 3. Press NEW to create a new sequence:

The sequence is added to the sequence list and is given a default name – for example, Sequence0000. Sequence0000

Renaming a Sequence 1. Press the PAGE button, located above the trackball, to access the second level of soft keys and then press EDIT. EDIT

A green cursor appears highlighting the first letter of the existing name, in this case the letter s. 2. Edit the name by typing a new name on the keyboard. 3. When you have finished, press the Enter button on the keyboard to confirm the new name.

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Chapter 5: Console Reset The Sequence Display

Deleting a Sequence 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Sequence display. 2. Using the trackball or navigation buttons focus the display on the Sequence title box. 3. Using the trackball, up/down buttons or rotary control select a sequence to delete, for example Don Giovanni:

The selected sequence is highlighted in black and its name appears in the Sequence title. 4. Press the PAGE button, located above the trackball, to access the second level of soft keys and then press DEL. DEL

Warning This operation will delete the sequence so be careful! Note that deleting the sequence does just that, and does not delete any snapshots contained within it.

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Chapter 5: Console Reset The Sequence Display

Setting the Sequence to Active Before snapshots can be added to a sequence or the sequence played out in real time, it must be set to active: 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Sequence display. 2. Using the trackball or navigation buttons focus the display on the Sequence title box.

The four soft keys above the trackball update to show the functions: NEW, NEW LOAD, LOAD ACT and NEXT. NEXT 3. Using the trackball, up/down buttons or rotary control select the sequence you wish to work on from the list:

The selected sequence is highlighted in black and its name appears in the Sequence title box. 4. Now press the LOAD soft key to set the sequence to active:

The sequence name is highlighted in green with Active written beside its name. This sequence is now ready for preparation or play out.

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Chapter 5: Console Reset The Sequence Display

Navigating to the Active Sequence If you have been viewing a different production folder or you have a large list of sequences meaning that the active sequence may not be visible, you can navigate to the active sequence by: 1. Focussing on the Sequence title box:

The four soft keys above the trackball update to show the functions: NEW, NEW LOAD, LOAD ACT and NEXT. NEXT 2. Pressing the ACT soft key:

The Sequence display will now automatically update to select the active sequence.

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Chapter 5: Console Reset The Sequence Display

Snapshot List Focus 1. Now change the focus of the display to the main area listing the snapshots contained within the sequence:

A series of functions for playing out sequences become available on the four soft keys located above the trackball: •

SETN – sets the selected snapshot to be the Next snapshot to be loaded in the sequence.

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SKIP – skips a snapshot.

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BACK – loads the ‘B Back’ snapshot.

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NEXT – loads the Next snapshot. 2. Press the PAGE button, located above the trackball, and a further set of functions, for saving and editing the sequence, appear:

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MOVE – moves the selected snapshot position.

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EDIT – edits the snapshot name and enters memo information.

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SAVE – saves a new snapshot and enters it in the sequence.

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UPDT – updates the selected snapshot.

Let’s look at the main operations in more detail.

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Chapter 5: Console Reset The Sequence Display

Saving Snapshots from the Sequence Sequence Display If the rehearsal is running more or less in the same order as the show, it makes sense to save snapshots directly from the Sequence display as this allows you to save snapshots and add them to the sequence in one operation: 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Sequence display, and check that your sequence is set to active:

The name of your sequence should be highlighted in green as Active on the display. 2. Focus on the main area of the display which will contain your list of snapshots.

The four soft keys above the trackball update to show the functions: SETN, SETN SKIP, SKIP BACK and NEXT. NEXT 3. Press the PAGE button to access the second level of soft key functions.

The four soft keys above the trackball update to show the functions: MOVE, MOVE EDIT, EDIT SAVE and UPDT. UPDT

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Chapter 5: Console Reset The Sequence Sequence Display 4. Press the SAVE soft key to save a new snapshot:

A new snapshot appears below the current selection. If this is the first snapshot to be added to the sequence, then it will appear at position 1 in the list! Just as when saving snapshots from the Snapshots Snapshots display, the snapshot is automatically given a default name, and date and time stamped. Note that this action performs two operations: firstly, the snapshot is stored within the production folder and, secondly, it is added to the sequence list. This means that if you returned to the Snapshots display, you would now find a snapshot in the current folder with the same name. 5. Press the SAVE soft key a few times to save a number of snapshots within the active sequence.

Each time, a new snapshot appears at the bottom of the sequence list occupying the next position in the list – 1, 2, 3, 4, etc. Eventually, you will add enough snapshots to fill the first page of the display. From here on, the display automatically scrolls to keep up with each new addition. When adding a long list of snapshots, use the sequence position numbers (7 7, 8, 9, 10, 10 etc.) to identify whereabouts in the sequence you are.

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Chapter 5: Console Reset The Sequence Display

Naming Snapshots from the Sequence Display For convenience, you can rename a snapshot within the active sequence from the Sequence display. Note that this operation renames the snapshot. Therefore, the name is updated in both the Sequence and Snapshot displays. 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Sequence display, and focus on the list of snapshots:

2. Using the trackball, navigation buttons or rotary control scroll up and down to select the snapshot you wish to rename

The selected snapshot is highlighted in black. 3. Make sure that the PAGE button, located above the trackball, is selected to access the second level of soft key functions - MOVE MOVE, VE EDIT, EDIT SAVE and UPDT. UPDT 4. To rename the snapshot press EDIT. EDIT

A green cursor appears highlighting the first letter of the existing name, in this case the letter A. 5. Edit the name by typing a new name on the keyboard. 6. When you have finished, press the Enter button on the keyboard to confirm the new name, and deselect EDIT or press Esc on the keyboard to exit the naming mode.

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Chapter 5: Console Reset The Sequence Display

Adding a Memo You may use the two lines below the snapshot name to add a memo. For example, you may wish to remind yourself about the artist’s position on stage for a particular snapshot.

1. Repeat steps 1 to 4 for naming the snapshot.

The selected snapshot is highlighted in black with the green cursor highlighting a letter. 2. Press the Enter button on the keyboard.

The cursor moves down to the first line of memo information and you may type to enter your information. 3. Press Enter again to access the second line of the memo field. 4. When you are finished, press the Esc button on the keyboard or deselect the EDIT button to exit the memo field. Note that if you press Enter again, you can edit the Xfade parameters for the snapshot. See Page 316 for more details.

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Chapter 5: 5: Console Reset The Sequence Display

Changing the Sequence Order Having added some snapshots to the sequence, you can change their order from the Sequence display. 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Sequence display, and focus on the list of snapshots. 2. Using the trackball, navigation buttons or rotary control scroll up and down to select the snapshot you wish to move:

The selected snapshot is highlighted in black. 3. Make sure that the PAGE button, located above the trackball, is selected to access the second level of soft key functions - MOVE, MOVE EDIT, EDIT SAVE and UPDT. UPDT 4. Press MOVE. MOVE 5. With MOVE selected, use the navigation buttons or rotary control to nudge the position of the snapshot up or down the list.

Use the sequence position numbers (7 7, 8, 9, 10, 10 etc.) to identify the new sequence position for the selected snapshot. 6. When you are finished, deselect MOVE MOVE. If you don’t, the next time you use the navigation buttons you may still be moving the position of the snapshot!

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Chapter 5: Console Reset The Sequence Display

Updating Snapshots Snapshots To avoid having to revert to the Snapshots display during a rehearsal, you may update a snapshot within the active sequence from the Sequence display. This operation will update the snapshot contents with the current console settings. If the snapshot is used multiple times, either within the same sequence or different sequences, then all occurrences are updated. If you wish to use the same snapshot within a sequence, but keep all occurrences independent, then use the duplicate function to copy the snapshot. Note that if the snapshot is protected, indicated by a locked padlock flag, then it cannot be updated. You may unprotect the snapshot from either the Edit Sequence or Snapshots display. 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Sequence display, and focus on the list of snapshots. 2. Using the trackball, navigation buttons or rotary control scroll up and down to select the snapshot:

3. Make sure that the PAGE button, located above the trackball, is selected to access the second level of soft key functions - MOVE, MOVE EDIT, EDIT SAVE and UPDT. UPDT 4. To update the snapshot press UPDT UPDT.

The new settings are stored within the snapshot and its date and time stamp are also updated. Note that you cannot update a protected snapshot.

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Chapter 5: Console Reset Running a Sequence

Running a Sequence So far we have created and edited a sequence from the Sequence display. Note that you may also edit sequences from the Edit Sequence display, see Page 305. First, let’s look at how to run a sequence in real time.

Preparing for Sequence Play Out The sequence which will play out will be the active sequence so check that you have the correct sequence activated! 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Sequence display:

The name of your sequence should be highlighted in green as Active on the display. If you have been viewing a different sequence you can use the ACT soft key to navigate back to the active sequence. See Page 289 for details on changing the active sequence.

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Chapter 5: Console Reset Running a Sequence 2. Before any snapshots may be loaded, automation must also be enabled. Select the button, located on the SNAPSHOT/SEQUENCE enable sequence automation:

sequence SEQ ON panel to

You are now ready to run the active sequence.

Running the Sequence in Order The easiest way to run sequences is using the NEXT button on the SNAPSHOT/SEQUENCE panel. Alternatively, you can focus on the list of snapshots within the Sequence display, and use the NEXT soft key.

Note that you don’t have to view the Sequence display to play out a sequence. However, it’s a good idea as the display includes helpful information such as which snapshot is Current (C C) and which snapshot will be the Next to play out (N N).

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Chapter 5: Console Reset Running a Sequence 3. Press the NEXT button to load the next snapshot in the sequence:

If this is the first time, you’ve played the sequence then this will be the snapshot located in position 1. The stored snapshot settings are recalled to the console according to any filtering or SNAP ISO selections which you may have applied and the loaded snapshot is now marked with a C for Current. 4. Keep pressing the NEXT button to step down through the sequence loading each snapshot in turn. Each time you load the next snapshot in the sequence, notice how the N, C and B indicators update: •

N indicates the Next snapshot to be loaded and therefore shows you exactly which snapshot you will recall when you press the NEXT button.

•

C marks the Current snapshot. This is always the last snapshot loaded.

•

B indicates the ‘Back’ snapshot. This is snapshot loaded before the current one.

If you want to play out the sequence from beginning to end, then pressing NEXT repeatedly causes the three indicators to move down the sequence snapshot list in turn. When you reach the last snapshot in the list, the sequence ends and the NEXT button performs no further function.

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Chapter 5: Console Reset Running a Sequence

Loading the Back Snapshot At any time, you can load the back snapshot to return to the previous snapshot’s settings. For example, if an artist misses their cue you may need to quickly revert to the previous snapshot. 1. Press the BACK button on the SNAPSHOT/SEQUENCE front panel to load the Back snapshot. Alternatively, you can focus on the snapshots list within the Sequence display and use the BACK soft key.

The Back snapshot loads and the Next, Current and Back indicators update accordingly.

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Chapter 5: Console Reset Running a Sequence

Resetting the Sequence To return to the top of the sequence, or to any snapshot position within the sequence: 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Sequence display and focus on the list of snapshots. 2. Select the snapshot you wish to return to using the trackball, navigation buttons or rotary control:

The selected snapshot is highlighted in black. 3. Press the SETN soft key (Set Next).

The Next indicator moves beside your selection, and the sequence will restart from this position when the NEXT button is actioned.

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Chapter 5: Console Reset Running a Sequence

Skipping a Snapshot or Snapshots You can skip a single snapshot or multiple snapshots in the sequence if, for example, an act is cut from the performance, 1. Press the SKIP button on the SNAPSHOT/SEQUENCE front panel. Alternatively, you can focus on the snapshots list within the Sequence display and use the SKIP soft key.

The Next indicator moves one position down the list. By pressing SKIP multiple times, you can skip more than one snapshot. 2. Now press NEXT to load the Next snapshot in the sequence.

Reloading the Current Snaps Snapshot hot You can reload the current snapshot, if for example during the performance you have made some manual changes to the console settings and now want to recall the Current snapshot settings. 1. Press the RELOAD button on the SNAPSHOT/SEQUENCE front panel:

The Current snapshot is loaded. Note that this function is only available from the front panel controls.

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Automatic Scrolling on the Sequence Display The Sequence display provides a number of options to manage how the display scrolls when there are lots of snapshots in the sequence. 1. Focus on the Selection Mode Mode box at the bottom right hand corner of the display:

The four soft keys located above the trackball update to provide the following options:

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•

FREE - sets the Selection Mode to Free. Free This allows your snapshot selection to differ from the Current or Next snapshot even while playing out snapshots from the sequence. For example, during a rehearsal you may want to edit snapshot names or change the sequence order for the beginning of the show but still load snapshots off the bottom of the list using the NEXT button. Choose this mode so that the display will always stay fixed on the selected snapshot and not revert to the Current or Next snapshot after pressing NEXT. NEXT

•

CURR – sets the Selection Mode to follow current. current This forces the selected snapshot to revert to the current snapshot each time you press the NEXT button. Use this mode when you wish the display to automatically scroll to the Current snapshot on the Sequence display.

•

NEXT - sets the Selection Mode to follow next. next This forces the selected snapshot to revert to the next snapshot each time you press the NEXT button. Use this mode when you wish the display to automatically scroll to the Next snapshot on the Sequence display.

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Chapter 5: Console Reset The Edit Sequence Display

The Edit Sequence Display The Edit Sequence display provides additional functions for preparing your sequence list offline. For example, you may wish to add existing snapshots into the sequence, or duplicate snapshots to keep them independent from one another. In addition, some functions from the Sequence display such as saving and naming snapshots are duplicated to avoid having to change between displays during operation. 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Edit Sequence Sequence display:

Note that each time you press the SNAP/SEQUENCE button you cycle through three pages – Snapshots, Snapshots Sequence and Edit Sequence. Sequence The current page is always highlighted at the top of the display – in our example, page 3 of 3. At the top of the display you will see the name of selected Folder (e.g. Music) Music and Active Sequence (e.g. Don Giovanni). Giovanni Note that you cannot change the folder or activate a different sequence from this display. To perform these operations, revert to the Sequence display. The right hand side of the display lists all the snapshots contained within the selected folder, while the left hand side of the display shows the sequence so far – in our example, Don Giovanni Giovanni contains 7 snapshots in sequence positions 1 to 7. The N, C and B flags are used when playing out the sequence and indicate the positions of the Next, Current and Back snapshots. If an S appears before the name of a snapshot, then this indicates that the snapshot is used within a sequence. mc²66

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Chapter 5: Console Reset The Edit Sequence Display

Adding Existing Snapshots to a Sequence You can add any snapshot contained within your production folder to the active sequence. Note that you cannot add snapshots located in a different folder. Although you could always load the snapshot to the console, change folders and then resave the snapshot to achieve the same result. 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Edit Sequence display, and focus on the list of snapshots:

The four soft keys above the trackball update to show the functions: ADD and NEXT. NEXT 2. Using the trackball, navigation buttons or rotary control scroll up and down to select the snapshot you wish to add to the sequence.

The selected snapshot is highlighted in black. 3. Press the ADD soft key to add the snapshot to the sequence.

The selected snapshot is added to the bottom of the sequence. You can add the same snapshot multiple times if you wish. This will create several pointers to a single snapshot. Therefore, if you update the snapshot at a later date, all occurrences within the sequence are updated. If you don’t wish this to be the case, then you can use the duplicate function to create independent occurrences of the same snapshot.

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Chapter Chapter 5: Console Reset The Edit Sequence Display

Duplicating Snapshots in a Sequence The console provides the ability to either reference the same snapshot multiple times throughout a sequence, or duplicate a snapshot to keep each occurrence independent. 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Edit Sequence display, and focus on the sequence list.

The four soft keys above the trackball update to show the functions: SAVE, SAVE UPDT, UPDT DUPL and NEXT. NEXT 2. Using the trackball, navigation buttons or rotary control scroll up and down to select the snapshot you wish to duplicate.

The selected snapshot is highlighted in black. 3. Press the DUPL soft key to duplicate the snapshot:

This creates a copy of the snapshot with a new name. The name given is taken from the original snapshot name. For example, duplicating a snapshot named Akt 1.Scene will create a new snapshot called Akt 1.Scene(1) 1.Scene(1). (1)

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Chapter 5: Console Reset The Edit Sequence Display

Deleting Snapshots Snapshots You can delete a snapshot from the sequence as follows. Note that this operation only deletes the snapshot from the sequence, and does not delete the snapshot from the Snapshots display. To delete a snapshot from the system completely, delete it using the Snapshots display. 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Edit Sequence display, and focus on the sequence list. 2. Using the trackball, navigation buttons or rotary control scroll up and down to select the snapshot you wish to delete from the sequence:

The selected snapshot is highlighted in black. 3. Make sure that the PAGE button, located above the trackball, is selected to access the second level of soft key functions - MOVE and DEL. DEL 4. To delete the snapshot press DEL. DEL

The snapshot is now removed from the sequence list. Note that it is not deleted from the snapshots folder, and therefore may be added back into the sequence at any time.

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Chapter 5: Console Reset The Edit Sequence Display

Other Edit Sequence Operations For convenience, many of the functions from the Sequence display such as saving, updating, naming, moving and loading snapshots are duplicated in the Edit Sequence display: 1. Press the SNAP/SEQUENCE button, located on the SCREEN CONTROL panel, to page to the Edit Sequence display and focus on the list of snapshots:

The following functions become available on the four soft keys located above the trackball: •

ADD – adds the selected snapshot into the sequence.

•

NEXT – loads the Next snapshot in the sequence. 2. Press the PAGE button, located above the trackball, and further functions appear:

•

EDIT – edits the selected snapshot name.

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Chapter 5: Console Reset The Edit Sequence Display 3. Now deselect the PAGE button and change the focus of the display to the sequence list:

The following functions become available on the four soft keys located above the trackball: •

SAVE – saves a new snapshot and enters it in the sequence.

•

UPDT – updates the selected snapshot with the current console settings.

•

DUPL – duplicates the selected snapshot.

•

NEXT – loads the Next snapshot in the sequence. 4. Press the PAGE button to access:

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MOVE – moves the selected snapshot position.

•

DEL – deletes the selected snapshot from the sequence.

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Chapter 5: Console Reset Snapshot Cross Fade (X(X-Fade)

Snapshot Cross Fade (X(X-Fade) Fade) When playing out snapshots from a sequence, you may choose to cross fade from one snapshot to another. For each snapshot, you can decide which modules will cross fade (e.g. faders, mutes, EQ, etc.), what the cross fade time will be, and whether switched functions, such as mutes, change state at the start or the end of the cross fade. These parameters are saved with each snapshot whenever it is saved or updated. When the sequence is played out, with X-Fade enabled, then the cross fade parameters for the snapshot you are fading to are applied. For example, if Snapshot 0001 has a cross fade time of 1 second and Snapshot 0002 a cross fade time of 2 seconds, and you step from the Snapshot 0001 to 0002 using the NEXT button, then a cross fade time of 2 seconds is applied. If, you then step back from Snapshot 0002 to Snapshot 0001 using the BACK button, then a cross fade time of 1 second is applied. Note that cross fade parameters may only be applied when you play out snapshots from a sequence, and not when recalling snapshots from the Snapshots display.

Preparing a Sequence/Default Sequence/Default X-Fade Parameters The fastest way to set a show, where you wish to use cross fades, is to proceed as follows: 1. First, create a new sequence for the show from the Sequence display as described on Page 287:

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Chapter 5: Console Reset Snapshot Cross Fade (X(X-Fade) 2. Make this sequence active, as described on Page 289:

3. BEFORE you save any snapshots, set the default cross fade parameters you want from the System display as described on Page 446:

You can set the default switch mode so that switched functions, such as mutes, will change state at the start or end of the cross fade. You can also set the default cross fade time in 100ms steps. If you set these defaults before you save your snapshots, then you will save editing time later. You can, of course, edit the cross fade parameters for each individual snapshot later, see Page 316. However, this can be time consuming, especially for a complex show!

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Chapter 5: Console Reset Snapshot Cross Fade (X(X-Fade) 4. Now set up the console for the show. When you are ready, save a snapshot for each new console setting:

Each snapshot is saved with the default cross fade parameters you set in step 3. Note that you can save your snapshots from either the Snapshots or Sequence display, as cross fade parameters are always stored with each snapshot. For details on adding existing snapshots to a sequence, see Page 305. 5. If you haven’t been able to save the snapshots in the correct order for play out, then re-order them now so that they are listed in play out order. See Page 295 for details. Note that you can edit the cross fade switch mode and time for each individual snapshot. However, don’t do this yet! First, we are going to set which modules we want to cross fade when the snapshot plays out.

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Chapter 5: Console Reset Reset Snapshot Cross Fade (X(X-Fade)

Selecting Modules to Cross Fade By default, when snapshots are saved or updated, they are set so that no modules will cross fade. Therefore, the next step is to select, for each snapshot, which modules you wish to fade. To do this, you will need to select the modules to fade, and then store these settings with the snapshot by updating it. Therefore, before you begin, make sure that the snapshot you want to edit is loaded into the console surface. The quickest way is like this: 1. Select the Sequence display so that you are viewing your active sequence. 2. Turn on the SEQ ON button on the SNAPSHOT/SEQUENCE panel so that you can play out the snapshots: 3. Press the NEXT button to load the next snapshot:

The next snapshot in the sequence is loaded into the console; the console should update; and the snapshot is marked as Current. If the snapshot does not load, check your isolate and filter settings, see Pages 256 and 265. 4. Now turn on the SEL SNAPSHOT/SEQUENCE panel.

XFADE

button

on

the

SEL XFADE flashes when active.

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Chapter 5: Console Reset Snapshot Cross Fade (X(X-Fade) 5. Select which modules you wish to cross fade using the SEL buttons on the Central Control Module. For example, to cross fade the fader and mute, press SEL beside the fader, and mute sections:

Remember if you wish to select several modules, it is quickest to press SEL ALL and then turn off SEL buttons to deselect modules. 6. When you have made your selections, turn off SEL XFADE. XFADE

The SEL XFADE button stops flashing. 7. Finally, store your selections by updating the snapshot. You can do this by focussing on the snapshots list in the Sequence display and pressing the UPDT soft key located on the second page of soft key functions.

The X-Fade module selections are stored with the snapshot. 8. Repeat steps 3 to 7 for each of the snapshots in the sequence.

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Chapter 5: Console Reset Snapshot Cross Fade (X(X-Fade)

Running the Sequence with Cross Fades On To play out the sequence with cross fades enabled: 1. Turn on the XFADE SNAPSHOT/SEQUENCE panel:

ON

button

on

the

XFADE ON illuminates when active. You won’t be able to turn this on unless SEQ ON is already active. 2. Now run the sequence as you would normally, see Page 299.

In our example, if snapshot 0004 is the current snapshot, press NEXT and the console will cross fade to snapshot 0001. Continuous parameters (e.g. fader level) fade from one setting to the other over the time period = X-Fade time. Switched parameters (e.g. mute) will change state either at the start or end of the fade. Note that the snapshots will fade using the parameters set within the snapshot you are fading to. If nothing happens when you recall your snapshot, check the following:

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•

Have you selected and stored the modules to cross fade using SEL XFADE? XFADE

•

Are those modules protected from snapshot recall, either using isolate or filter settings?

•

Make sure that you’re not cross fading between snapshots with the same parameters!

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Chapter 5: Console Reset Snapshot Cross Fade (X(X-Fade)

Editing Snapshot Cross Fade Parameters You may wish to edit the X-Fade Switch Mode and/or Fade Time parameters for an individual snapshot. This may be because it needs different settings from the default, or because you have imported an existing snapshot which was saved before you set your default parameters. You can use one of two methods depending on what you want to achieve: •

If you want to modify the parameters for a large number of snapshots to the same values, then the quickest method is to change the default cross fade parameters to the new values; load the snapshot to the console surface; and then update the snapshot. When each snapshot is updated, it will store the new default cross fade parameters.

•

Alternatively, if you wish to edit parameters for an individual snapshot, then proceed as follows: 1. From the Sequence display, focus on the snapshot you wish to edit and press the EDIT soft key available on the second page of soft key functions:

A green cursor appears highlighting the first letter of the snapshot name.

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Chapter 5: Console Reset Snapshot Cross Fade (X(X-Fade) 2. Press the Enter button on the keyboard 3 times to cursor down to X-Fade Switch, Switch and turn the rotary control to change the setting:

The parameter will toggle between ‘at start’ and ‘at end’. 3. Press the Enter button again to cursor down to Fade Time, Time and turn the rotary control to change the setting:

The fade time can be altered in steps of 100ms.

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Chapter 5: Console Reset Snapshot Cross Fade (X(X-Fade) 4. When you have finished, deselect EDIT or press Esc on the keyboard to exit the edit mode.

The new X-Fade parameters are set for the snapshot:

Note that if you update the snapshot at any point, the X-Fade Switch Mode and Fade Time will be reset to the default parameters as defined within the System display. Therefore, make sure that you are happy will all other aspects of the snapshot before editing these parameters.

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Chapter 6: Timecode Automation Introduction

Chapter 6: 6: Timecode Automation Introduction This chapter explains the operation of the console’s timecode automation system. The mc266 66’s automation system provides the ability to automate console settings referenced to timecode. Note that in addition to providing automation of channel parameters such as faders, mutes, aux sends, EQ, etc., the system allows you to automate other settings such as bus routing, channel signal flow, etc. Also remember that the channels you automate may be any type of channel – inputs, groups, sums, auxes, VCA masters, GPCs, etc. In addition, you may recall snapshots into the automation system to record a complete scene/section change against timecode. The automation system acts as a timecode slave and may lock to external Midi Timecode (MTC). Control of the replay machine(s) is handled from the external machine or from an optional Machine Control Panel which replaces the console’s User Panel in the centre section:

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Chapter 6: Timecode Automation Before You Mix Automation data can be written with timecode rolling at any speed, providing fast and efficient mixing. A normal automation day starts at 00:00:00:00 and ends at 23:59:59:xx and, if you wish, you can choose to work with a timecode offset. The way in which data is written is governed by a number of modes, allowing you to write dynamic or static automation; step in or step out of write to make updates; protect channels to prevent overwriting existing moves; and isolate channels to remove them from the automation system completely. Each stream of automation data is recorded as a ‘Pass’, and multiple passes are stored within a ‘Mix’. A ‘Pass Tree’ allows you to view the history and A/B between different passes within each mix. Multiple mixes may be created for each production and are stored permanently on the system when you update the production.

Before You Mix Let’s assume that you have created a new production and have a basic setup with levels, panning, EQs, etc. Before enabling the automation system, there are a few basic checks to perform: 1. Select the timecode reference for the automation system – the console may run as a master using its own internal timecode generator, or slave to external Midi timecode (MTC). This option is set from the System display, see Page 441. 2. Change the Central Control Screen to display timecode rather than local time. This option is set from the System display, see Page 437. Press PLAY on your machine and check that the timecode on the display follows. If required, you can set a timecode offset. See Page 380. 3. Check the Mixes display and, if necessary, create a new mix to store automation. See next page. 4. Select the channels/parameters you want to automate. See Page 323.

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Chapter 6: Timecode Automation Before You Mix

Checking the the Mixes Display When you enable automation, data from the Active Mix is loaded to the console. Therefore, to make sure you don’t lose your settings, by loading automation already stored within the production, check the Mixes display. 1. Press the AUTO SCREEN CONTROL button to access the Mixes display:

Note that each time you press the AUTO button you toggle between two pages – Mixes and Pass Tree. Tree The current page is always highlighted at the top of the display – in our example, page 1 of 2. The Mixes display lists all the Mixes stored within the current production. The Active Mix is highlighted in green, and its name, memo information, number of passes within it, size and the date and time when it was last updated are displayed at the top of the page. If this is a new production, the list will be empty and you can skip straight onto selecting the channels and parameters you want to automate. The first time you enable the automation, a new mix is created automatically. However, if there are a number of mixes already stored within the production, you will need to create a new mix before proceeding. Otherwise, when you press the automation ON button, the system will load the Active Mix data to the console.

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Chapter 6: Timecode Automation Before You Mix

Creating a New Mix 1. If not already selected, press the AUTO SCREEN CONTROL button to access the Mixes display:

2. Press the NEW soft key located above the trackball.

A new mix appears at the bottom of the list and automatically becomes the Active Mix. Mix It is given a default name (e.g. mix0003), mix0003 and date and time stamped.

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Chapter 6: Timecode Automation Automation Before You Mix

Selecting Faders for Automation You can select which channels, and parameters within those channels, you wish to automate at any time during the mix. However, it’s a good idea to think about your initial selections before enabling the automation. This operation is performed from the AUTOMATION front panel controls:

To keep things simple, let’s select the faders across all fader strips on the current bank/layer. 1. Assign one of the channels you want to automate to the Central Control Section, either by pressing its fader SEL button or entering the channel type and number from the ACCESS CHANNEL/ASSIGN control panel. 2. Press the SEL AUTO button, located in the DYNAMIC MODE/WRITE DATA section of automation controls.

The button flashes red to show it is active.

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Chapter 6: Timecode Automation Before You Mix 3. On the Central Control Section, select the audio module(s) you wish to automate, in this example the fader, by pressing the SEL buttons beside the fader.

The SEL button turns orange showing that the fader is selected for automation on that particular channel. To make sure that no other modules are selected other than the fader, first press SEL ALL twice – this will clear any existing selections. Now press the fader SEL button to select only this one module. So far we have selected the fader on the channel in access for automation. To select the faders across the rest of the console: 4. Press the MLT button located DYNAMIC MODE/WRITE DATA section of automation controls:

This activates the multiple SEL AUTO mode and all the fader SEL buttons across the console flash, in green:

5. Press the SEL buttons on the fader strips you wish to automate.

The buttons change from green to red when selected. 6. When you have finished, deselect SEL AUTO or press ESC to complete the operation.

Multiple faders across the console are now selected for automation. If you wish to select faders on hidden banks or layers, then bring each bank or layer to the surface and press the fader SEL buttons during step 5. Note that the first time you select parameters to be automated, they default to dynamic automation mode. For more details on static automation mode, please refer to page 345.

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Chapter 6: Timecode Automation Turning On the Automation

Turning On the Automation Having selected the channels and parameters you wish to automate, you are now ready to turn on the automation and write your first pass.

Writing Your First Mix Pass 1. Press the ON button located in the GLOBAL CONTROL section of automation controls:

Automation

The R/W buttons beside each fader will turn green. If they don’t, 326/ 474 V1.8/0 then the fader is not selected for automation. See Page 336 for mc²66 details on selecting channels and parameters for automation.

Turning On

2. Check that the FILL END button is selected from the STEP the OUT MODE section of automation controls.

The FILLAutomation END automation mode is great for writing early passes where you are working through the song or production chronologically. Each time you stop and finish a pass, any values in write are written through to the end of the mix. This means that you don’t have to play through the whole song just to write a fader level to the end of the mix. For details on alternative step out modes, see page 333.

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Chapter 6: Timecode Automation Turning On the Automation 3. If not already selected, press the AUTO SCREEN CONTROL button to view the Mixes display:

In our example above, a new mix (mix000 mix0001 mix0001) was created manually using the new mix function, see Page 323. However, if this is a brand new production, then the system automatically creates a new mix when you turn automation ON - mix0000. In either case, the Active mix is highlighted in green and shown at the top of the display. 4. Press the AUTO SCREEN CONTROL button to view the Pass Tree display for the active mix – page 2 of 2:

Note that the Pass Tree is empty as we have not written any data.

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Chapter 6: Timecode Automation Turning On the Automation 5. Press play and write some dynamic fader moves as the timecode rolls forwards. As soon as you touch a fader, its R/W button changes from green to red to indicate that you are now writing new data. You will also see that a Record Pass (Rec Rec Pass) Pass is created in the Pass Tree display – pass0000: pass0000

Note that you cannot create a new Record Pass if the mix is protected. 6. When you are ready, you can finish the pass in one of two ways: •

Press rewind or locate backwards; the change of timecode direction causes the pass to finish automatically. The system will also finish the pass, if the incoming timecode is at an earlier position then the current timecode of your mix.

•

Press the FINISH button located at the bottom of the AUTOMATION control panel to manually finish the pass.

In either case, the stream of automation data is now recorded in pass0000 which moves to the Play Pass window in the Pass Tree display:

In addition, all fader R/W buttons return to green indicating that they are back in read mode. 7. Locate back to the beginning of the mix and press play.

Watch your recorded moves play back against timecode!

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Chapter 6: Timecode Automation Turning On the Automation

Updating a Pass To update the moves in pass0000 pass0000: 1. Press play and touch the faders you want to update. The R/W buttons on the faders turn red to show that they are back in write. Other fader R/W buttons remain green and play back the moves from pass0000. Note that next to each fader in write you will see an orange marker – either up or down. This indicates the direction of the fader level stored within the Play Pass and is particularly useful when you using modes such as OUT IF CRSS, CRSS see Page 348. Having written some moves, a new Record Pass – pass0001 – is created:

2. Finish the pass either by pressing FINISH or locating backwards. Pass0001 now becomes the current Play Pass ready for further updates. Note that as you selected the FILL END automation mode earlier, any levels in write when you finish the pass are written through to the end of the mix. See Page 333 for more details on alternative step out modes. 3. Continue updating the mix as above. Note that each time you update the current Play Pass, a new Record Pass is created with a new unique reference number – pass0002, pass0003, etc. The passes are kept within the Pass Tree showing the history of each update. You can view the list of passes either by name or by date/time stamp, and rename or delete passes. See Page 374 for details.

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Chapter 6: Timecode Automation Turning On the Automation

Cancelling a Pass If you start a new Record Pass and make a mistake, you can throw away the data before finishing the pass: 1. Press the CANCEL button located in the GLOBAL section of automation controls.

The next time you begin a Record Pass, it takes the next unique pass number. For example, if you cancel pass0001, then the next Record Pass is named pass0002:

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Chapter 6: Timecode Automation Turning On the Automation

Reverting to an Earlier Pass If you’ve made a mistake and already finished the pass, then you can go back to an earlier play pass using the Pass Tree display. 1. Using the trackball or navigation controls, focus on the pass which you want to revert to, for example pass0002.

The pass is highlighted by the focus outline and appears in the Sel Pass window. 2. Press the PLAY soft key located above the trackball.

Pass0002 becomes the current Play Pass and the console settings update to reflect the new replay data. 3. Now go into play and write some fader updates. 4. Finish the pass by locating backwards or pressing the FINISH button. Note that the newly created pass takes the next unique pass reference number, in our example pass0008 pass0008, and appears as a new branch in the Pass Tree display:

The Pass Tree provides a history for every pass created within the active mix. You can use the Pass Tree to A/B between different mixes or to write different versions of automation for a chorus or scene. Passes may be loaded, named or deleted. Please refer to Page 374 for more details on using the Pass Tree display.

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Chapter 6: Timecode Automation Saving Your Mix Data

Saving Your Mix Data Every time you finish a pass you create a new temporary pass stored within the active mix. To store all the finished passes for a mix permanently, you must update the production. When a production is updated, all passes within each mix are stored permanently onto the system’s user data flash card. Any number of passes may be stored within the mix, and any number of mixes within each production. You can use the File Import/Export functions to copy mixes onto USB or a network drive for archiving purposes. Please refer to Chapter 5 for more details on productions and data storage.

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Chapter 6: Timecode Automation Updating Fader Moves Moves

Updating Fader Moves So far we have updated fader moves by touching the faders to step into write, and finishing the pass to step out of write. By using the FILL END automation mode, any levels in write when the pass is finished are written through to the end of the mix. To go back and correct moves earlier in the song or production, we need to change to STEP OUT mode. In addition, you can make mixing more efficient by using the fader R/W buttons, or touch sense, to step out of write while in play.

Step Out Automation Mode Writing in STEP OUT mode means that any parameter in write reverts to the Play Pass data when you step out of write. This allows you to write a new move early on in the song or production, step out of write and keep all your following moves from the previous Play Pass. 1. Press the STEP OUT button, located in the STEP OUT MODE section of controls, to change from ‘fill to end’ to ‘step out’ automation.

2. Press Play and touch the faders you want to update.

The R/W buttons on these faders turn red to show that they are in write. 3. Finish the pass either by pressing FINISH or locating backwards. Now play back the pass and you should see your new fader moves followed by moves from the previous play pass.

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Chapter 6: Timecode Automation Updating Fader Moves

Using the R/W buttons To make mixing more efficient you can use the fader R/W buttons to step in and out of write while in play. This allows you to step in and out of write several times during a single pass. 1. To work in this way, first press the WRITE R/W button located in the DYNAMIC MODE/WRITE DATA section of automation controls:

The R/W buttons beside each fader now allow you to step in and step out of write for that fader. Note that when WRITE R/W is not selected, the R/W button disarms the fader. This means that the fader is write-protected and you won’t be able to write new automation data for it. See Page 364 for more details on arming and disarming. 2. To step in to write you can now either touch the fader or press the R/W button beside the fader.

The R/W button turns red to show that the fader is in write. 3. To step out of write, press the R/W button again.

The fader jumps back to its previous pass position and the R/W button turns green to indicate that the fader is now reading back the Play Pass. 4. Continue stepping in and out of write on as many faders as you wish as you roll forwards in play. 5. When you finish the pass all the updates you have made are recorded in the new Play Pass. You can combine STEP OUT and WRITE R/W with other modes such as GLIDE, GLIDE OUT IF CRSS or NEXT CHANGE. CHANGE For more details on automation modes, please refer to Page 348. You can also step in and out of write globally (for all parameters selected for automation) using the START WRITE or STOP WRITE buttons. Or step in and out for a cluster of channels (for example, to update your brass section!) using the CLUST button. See Page 354 for more details on global or cluster operations.

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Chapter 6: Timecode Automation Updating Fader Moves

Touch If you would like the faders to step out of write when you release them, then turn on the TOUCH button located in the MANUAL MODE section of controls:

1. Step into write by touching the fader.

The R/W button turns red to show that the fader is in write. 2. Keep touching the fader and when you wish to step out of write, release the fader.

The fader jumps back to its previous pass position and the R/W button turns green to indicate that the fader is now reading back the Play Pass. You can combine TOUCH with GLIDE if you wish the faders to glide back to the Play Pass on release. For more details on automation modes, please refer to Page 348. Note that TOUCH applies to any variable control so you can use it on touch sensitive rotary controls such as panning, aux sends, etc.

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Chapter 6: Timecode Automation Writing Automation on Controls and Switches

Writing Automation Switches

on

Controls Controls

and

In addition to faders, you can write automation for any other channel control, for example, mutes, panning, EQ, even functions such as bus routing. Faders and rotary controls are touch sensitive which allows them to step into write whenever you touch a fader or control. Switches step into write whenever you change the state of the switch or force a step in using the WRITE R/W mode. Let’s look at a couple of examples - writing automated mutes and writing a dynamic pan move.

Selecting Channel Parameters for Automation First, you need to select the parameters you wish to automate using the SEL AUTO function and the Central Control Section. 1. Assign one of the channels you want to automate to the Central Control Section, either by pressing its fader SEL button or entering the channel type and number from the ACCESS CHANNEL/ASSIGN control panel. 2. Press the SEL AUTO button, located in the DYNAMIC MODE/WRITE DATA section of automation controls.

The button flashes red to show it is active. 3. On the Central Control Section, select the audio module(s) you wish to automate, in this example mute and pan, by pressing the SEL buttons beside the mute and pan modules.

The SEL buttons turn orange showing that the modules are selected for automation on that particular channel. Note that the fader SEL will also be lit if you have been writing fader automation on that channel.

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Chapter 6: Timecode Automation Writing Automation on Controls and Switches Switches To make the selections across multiple channels: 4. Press the MLT button located DYNAMIC MODE/WRITE DATA section of automation controls:

This activates the multiple SEL AUTO mode and all the fader SEL buttons across the console flash, in green:

5. Press the SEL buttons for the channels you wish to automate.

The buttons change from green to red when selected. 6. When you have finished, deselect SEL AUTO or press ESC to complete the operation.

The three parameters – fader, mute and pan – and now selected for automaton across multiple channels. Note that the first time you select parameters to be automated, they default to dynamic automation mode and are armed (ready to read and write automation). For more details on these functions, please refer to Pages 345 and 364.

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Chapter 6: Timecode Automation Writing Automation on Controls and Switches If you wish to select automation for channels on hidden banks or layers, then bring each bank or layer to the surface and press the fader SEL buttons during step 5 above. If you wish to select other parameters for automation, then use the corresponding SEL buttons from the Central Control Panel during step 3. Parameters are selected as follows:

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•

INPUT MIXER – all input settings.

•

IMAGE – stereo image and position.

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DAMP - digital amplifier gain.

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DELAY– channel delay.

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INS – channel insert.

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DIROUT – direct output.

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GATE – gate.

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EXPANDER – expander.

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SCF – sidechain filter settings.

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FILTER – 2-band filter settings

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EQ – 4-band EQ settings.

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COM – compressor.

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LIMITER – limiter.

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PANNING – surround panning.

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MUTE SEL – status of the mute button.

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Fader SEL – the fader position.

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Chapter 6: Timecode Automation Writing Automation on Controls and Switches You can also automate other channel parameters using the following buttons on the PARAMETER COPY/ASSIGN panel: •

CH - selects the channel signal processing order as set on the Channel Config display.

•

BUS - selects the channel’s bus assignments.

To select all parameters for a channel, press the SEL ALL button above the fader SEL button. By deselecting SEL buttons, you may then edit the selection to copy a subset of parameters. To clear down all the selections: 1. Press the SEL ALL button above the Central Control Section Fader to select all audio modules. 2. Then deselect SEL ALL. ALL

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Chapter 6: Timecode Automation Writing Automation on Controls and Switches

Writing Switch Automation Switches step into write whenever you change the state of the switch or force a step in using the WRITE R/W mode. Assuming that you have selected the mute buttons for automation, as described in the previous section, you should be ready to go. However, note that you will not be able to write automation if the mute buttons have been disarmed (see Page 364), and you will not be able to write dynamic changes if the mute buttons are running in static automation mode (see Page 345). 1. With automation on, go into play and press the mute button either on the fader strip or Central Control Section to write your changes. 2. To check that you are writing automation, assign the channel to the Central Control Section:

The mute SEL button turns orange when the mute is in write. 3. Finish the pass by locating backwards or pressing the FINISH button and play back the automation.

The mute SEL button turns green when the mute is in replay.

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Chapter 6: Timecode Automation Writing Automation on Controls and Switches

Updating Switch Automation You can update switch automation by rewinding and rewriting the switch change. However, if you want to remove a switch change or you want to write other automation on other parameters you will want to step in and out of write while in play. 1. To work in this way, assign the channel you want to automate to the Central Control Section. 2. Next press the WRITE R/W button located in the DYNAMIC MODE/WRITE DATA section of automation controls:

The SEL buttons beside each Central Control Section module now allow you to step in and step out of write for that module. For example, to overwrite a mute which is in the wrong position, we want to step into write when the mute is off and then step out again past the mute on point from the previous pass. To do this: 3. Rewind before the mute you want to remove. 4. Step in to write by pressing the SEL button beside the mute on the Central Control Section.

The mute goes into write in its current state – i.e. mute off. The SEL button turns orange to show that the switch is in write. 5. Locate or play past the end of the unwanted mute. 6. To step out of write, press the SEL button again.

The SEL button turns green to indicate it is now in replay and the mute button reverts to the data from the Play Pass. In our example, the status of the mute doesn’t change. 7. Finish the pass, either by pressing FINISH or locating backwards.

The updates you have made are recorded in the new Play Pass. Another great way to update switch automation is to combine STEP OUT with NEXT CHANGE. CHANGE For more details on automation modes, please refer to Page 348.

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Chapter 6: Timecode Automation Writing Automation on Controls and Switches

Writing Rotary Control Automation Rotary controls, like faders, are touch sensitive and go into write when you touch them or force a step in using the WRITE R/W mode. Let’s write a dynamic pan left/right pan move. Assuming that you have selected the pan module for automation, as described earlier, you should be ready to go. However, note that you will not be able to write automation if the pan module has been disarmed (see Page 364), and you will not be able to write dynamic changes if the pan module is running in static automation mode (see Page 345). 1. With automation on, go into play and move the left/right pan control either from a free control or the Central Control Section to write your changes. 2. To check that you are writing automation, assign the channel to the Central Control Section:

The panning SEL button turns orange when in write. 3. Finish the pass by locating backwards or pressing the FINISH button and play back the automation.

The panning SEL button turns green when in replay.

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Chapter 6: Timecode Automation Writing Automation on Controls and Switches

Updating Rotary Control Automation You can update the pan move by rewinding and rewriting the move. However, if the move starts too early or you want to write other automation on other parameters you will want to step in and out of write while in play. 1. First, assign the channel you want to automate to the Central Control Section. 2. Next press the WRITE R/W button located in the DYNAMIC MODE/WRITE DATA section of controls:

The SEL buttons beside each Central Control Section module now allow you to step in and step out of write for that module. 3. Rewind before the start of the pan move you want to update. 4. Step in to write by pressing the SEL button beside the pan module on the Central Control Section.

The pan module goes into write in its current state – i.e. left/right pan at its starting position. The SEL button turns red to show that the module is in write. 5. Now go into play and move the left/right pan control to rewrite your move at the correct timecode. 6. To step out of write, press the SEL button again.

The SEL button turns green to indicate that the pan module is now in replay and the left/right pan control reverts to the data from the Play Pass. 7. Finish the pass, either by pressing FINISH or locating backwards.

The updates you have made are recorded in the new Play Pass. Another great way to update rotary control automation is to combine STEP OUT with OUT IF CRSS. CRSS For more details on automation modes, please refer to Page 348. If you would like the controls to step out of write when you release them, then turn on the TOUCH button located in the MANUAL MODE section of controls.

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Chapter 6: Timecode Automation Automation Writing Automation on Controls and Switches

Writing Automation for a Complete Module The previous examples showed how to update an individual control such as the fader, mute and left/right pan control. However, you can also choose to step a complete module, for example all four bands of EQ, in and out of write as follows: 1. Select EQ on a channel to be automated as described on Page 336. 2. Select the WRITE R/W button located in the DYNAMIC MODE/WRITE DATA section of automation controls:

3. Assign the channel you are automating to the Central Control Section. 4. With automation on, go into play. The distinction between whether you write an individual control, for example EQ1 Gain, or the complete module is made as follows: 5. Move the EQ1 Gain rotary control to step in to write just on the one control.

The EQ SEL button turns orange indicating that only part of the module is in write. 6. Alternatively, press the EQ SEL button to force the module into write in its current state.

The EQ SEL button turns red indicating that all controls and switches within the EQ module are in write. 7. Make your changes and step out either by pressing the EQ SEL button or finishing the pass in the usual manner.

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Chapter 6: Timecode Automation Automation Modes

Automation Modes The way in which automation is written is governed by two primary modes: •

Dynamic or Static automation

•

The STEP OUT mode

Dynamic or Static Automation You can choose whether modules write dynamic or static automation – for example, you may wish to emulate an analogue console’s automation system by writing dynamic fader and mute changes, while keeping all EQ, Compression, etc. at one static setting for the entire mix. It theory, it is not strictly necessary to select static automation if you want say a single EQ setting for an entire mix. If you select only faders and mutes for automation, then all other modules remain at their current settings while running automation. However, if for example, you then disable automation, load a different snapshot and re-enable automation. Because the EQ and other settings were not stored in the mix pass, you will not get back those settings simply by enabling the automation. To work in this way, you will need to make sure that you have saved a snapshot for all settings outside of the automation pass. For this reason, we recommend selecting all modules used for the mix for automation. Please note that it is possible to have more then 500 channels within a system. If you select every module of each channel the system might getting slower with growing automation data. You can then use static or dynamic automation modes to control whether settings are written dynamically or not. When modules are selected for automation, they default to dynamic automation mode. To select static mode: 1. Assign one of the channels you want to change to the Central Control Section, either by pressing its fader SEL button or entering the channel type and number from the ACCESS CHANNEL/ASSIGN control panel. 2. Press the SEL DYN button, located in the DYNAMIC MODE/WRITE DATA section of automation controls.

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Chapter 6: Timecode Automation Automation Modes 3. On the Central Control Section, select the audio module(s) you wish to automate by pressing the SEL buttons beside the modules.

The SEL buttons turn orange showing that the modules are selected for automation on that particular channel. To make the selections across multiple channels: 4. Press the MLT button located DYNAMIC MODE/WRITE DATA section of automation controls:

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Chapter 6: Timecode Automation Automation Modes This activates the multiple SEL DYN mode and all the fader SEL buttons across the console flash, in green:

5. Press the SEL buttons for the channels you wish to change to static mode.

The buttons change from green to red when selected. 6. When you have finished, deselect SEL DYN or press ESC to complete the operation.

The selected parameters across the selected channels are now set for static automation. When you make changes to these parameters, the last value in write is written for the entire mix, providing a great way to write one EQ or one Compressor setting across the whole song or production. If you wish to select static automation for channels on hidden banks or layers, then bring each bank or layer to the surface and press the fader SEL buttons during step 5 above.

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Chapter 6: Timecode Automation Automation Modes

Step Out Automation Modes These modes affect what happens when you step out of write, and are selected from the STEP OUT MODE buttons on the AUTOMATION control panel:

There is a choice of several modes, many of which can be used in combination with each other to achieve different results. Note that it is the mode selected when you finish the pass which will be applied. For example, if you are in STEP OUT mode while playing through the chorus but then decide you wish to write the updated values to the beginning of the mix, you can stop, change to FILL START and then press FINISH to finish the pass.

FILL START and FILL END •

FILL END – this automation mode is great for writing your first passes where you are working through the song or production chronologically. Each time you stop and finish a pass, any values in write are written through to the end of the mix. This means that you don’t have to play through the whole song just to write a fader level to the end of the mix.

Readpass

Modification

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FILL START – using this mode, any values in write are written back to the start of the mix.

•

FILL END plus FILL START – with both modes selected, any values in write are written as a static value for the whole mix.

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Chapter 6: Timecode Automation Automation Modes

Readpass

Modification

Result for Fill to End

Result for Fill to start

Note that you can also write static values between specific timecode points using the Punch In and Punch Out times in conjunction with the FILL COMM button. See Page 361 for details.

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Chapter 6: Timecode Automation Automation Modes STEP OUT Writing in STEP OUT mode means that any parameter in write reverts to the Play Pass data when you step out of write. This allows you to write a new move early on in the song or production, step out of write and keep all your following moves from the previous Play Pass:

Readpass

Modification

Result for step out

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Chapter 6: Timecode Automation Automation Modes GLIDE Combine STEP OUT with GLIDE to create a glide back to the Play Pass when you step out of write:

Readpass

Modification

Result for Glide-out

Glidetime

GLIDE is applied to all variable parameters – fader levels, panning, aux send levels, etc. – and can be used in conjunction with TOUCH such that controls will step out of write on release and glide back to the Play Pass.

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Chapter 6: Timecode Automation Automation Modes To set the glide time: 1. If not already selected, press the AUTO SCREEN CONTROL button to access the Pass Tree display:

2. Make sure that the PAGE button, located in the middle of the SCREEN CONTROL soft keys, is not selected.

The four soft key functions show PLAY, PLAY TIME, TIME GLDE and TC O. O 3. To set the glide time, press the GLDE soft key and then turn the rotary control.

The glide time is shown in the Glide time box and may be adjusted from 0 to 60000ms (60 seconds).

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Chapter 6: Timecode Automation Automation Modes OUT IF CROSS This mode can be combined with STEP OUT OUT, FILL END or FILL START and is a great mode for updating variable parameters such as fader levels. When selected, any values in write will automatically step out when their value crosses the read pass. For example, you may use this mode if you wish to update a fader level before a fantastic move you have just written! Go back and update your level; when the read pass crosses the new level, the automation automatically steps out and replays your fantastic move from earlier! Use the orange marker beside the fader to show whether you need to move your fader up or down to cross the read pass.

NEXT CHANGE This mode can be combined with STEP OUT OUT, FILL END or FILL START and is great mode for updating switched parameters such as mutes. When selected, any values in write will automatically step out when a parameter change occurs in the read pass: For example, let’s say that you have written some mute automation and now wish to update a section earlier in the mix. Go back and update your mute automation and leave your mute switch in write. When the next change of mute position occurs in the read pass, then the mute will automatically step out of write.

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Chapter 6: Timecode Automation Step In/ Step Out Functions

Step In/ In/ Step Out Functions Eariler we used the R/W and SEL buttons to step in and out of write on individual controls. However, there are a number of useful functions which you can use to step in or out of write across multiple channels, or to set an automatic step in/step out between two timecode values (Punch In/Punch Out). Remember that these functions only affect which elements of the console step in or out of write. The way in which automation data is written is still governed by the automation mode. For example, if you use START WRITE in combination with FILL END: END 1. Press Play on your machine so that timecode is rolling. 2. Press START WRITE and all parameters enabled for automation step into write at their current positions. 3. What happens next depends on your choice of operation: •

If you locate backwards to finish the pass, then the selected mode will be applied - FILL FILL END. END In other words, the values in write will be written to the end of the mix.

•

However, if instead of finishing the pass, you press STOP WRITE, WRITE all your parameters will step out back into replay. In other words, you have achieved a step in and step out, without having to change automation mode!

•

If you combine the above with GLIDE, GLIDE then rather than an instant step out, variable parameters will glide back to their replay positions.

For more details on automation modes, please see Page 348. This section looks at the step in and step out functions.

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Chapter 6: Timecode Automation Step In/ Step Out Functions

Global Step In/Step Out The START WRITE and STOP WRITE buttons allow you to step in and out of write globally across all automated parameters on the console. 1. Press the START WRITE button, located in the GLOBAL CONTROL section of automation controls, to step into write across the console:

All parameters and modules which have been selected for automation step into write. The R/W buttons beside each fader will turn red when in write. 2. Press the STOP WRITE button to step out of write across the console:

Any parameters in write step out back to the Play Pass. Use STOP WRITE to step out on all parameters at a section change such as the end of a chorus. Combine STOP WRITE with GLIDE to glide back to the Play Pass values.

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Chapter 6: Timecode Automation Step In/ Step Out Functions Functions

Cluster Step In/Step Out You can use the Cluster function to step in or out of write across a cluster of channels. The cluster works like a group but just for automation parameters. First define which channels you wish to cluster. Then when you step into write on say the EQ on one channel, all EQ sections within the cluster also step into write. Note that the CLUST button can be used to step in and out of write, or to arm and disarm clustered parameters. See Page 366 for details on SEL ARM. ARM First, define the clustered channels as follows: 1. Press the CLUST button located in the DYNAMIC MODE/WRITE DATA section of automation controls:

The button flashes to show that it is active, and all the fader SEL buttons across the console flash, in green.

2. Press the flashing fader SEL buttons to add channels to the cluster.

The fader SEL buttons change from green to red. 3. Deselect the CLUST button to complete this part of the operation.

The cluster is now defined.

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Chapter 6: Timecode Automation Step In/ Step Out Functions You can now step in and out of write across a group of parameters within the cluster. For example: 1. On any channel within the cluster step into write on the EQ module.

All EQ modules within the cluster step into write at their current values. Note that parameters will only step into write if they have been selected for automation and are armed. You can also use the Cluster function to arm or disarm the cluster of parameters, see Page 366 for details.

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Chapter 6: Timecode Automation Step In/ Step Out Functions

Join The JOIN and JOIN AUTO buttons also allow you to step into write across a selection of parameters. However, the parameters which are ‘joined’ are automatically defined for you and are the parameters which were in write when you finished your last pass. These functions are especially useful when working on a section of the mix, such as the Chorus of a song, where you are constantly rewinding to make updates.

Auto Join 1. Select the JOIN AUTO button, located in the GLOBAL CONTROL section of automation controls:

2. Locate to the beginning of the Chorus and press Play. 3. During the Chorus write some fader and control moves.

You will now have a selection of parameters in write as indicated by the red R/W fader strip buttons and/or SEL buttons on the Central Control Section. 4. Locate back to the beginning of the Chorus and press play to play back the pass.

Your moves replay and at the timecode where you located backwards (or finished your last pass), all the parameters which were in write in step 3 automatically step into write at their current value (this is called an auto join). So, by working in JOIN AUTO, AUTO you can be constantly rewinding to make updates without having to pay attention to the step out point or to which parameters you updated. JOIN AUTO also provides a useful tool for checking which controls you updated on your last pass. For example, if you accidentally touched a fader on your last record pass, then when you play back the pass and reach the join timecode, the fader’s R/W button turns red as it joins.

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Chapter 6: Timecode Automation Step In/ Step Out Functions JOIN The JOIN button is very similar to JOIN AUTO but allows you to join (step controls into write) manually. This can be useful for overwriting a move you didn’t like. For example: 1. Locate to the beginning of the Chorus and press Play. 2. During the Chorus write some fader and control moves.

You will now have a selection of parameters in write. However, let’s say that you liked the first series of moves but not the latter. 3. Locate back to the beginning of the Chorus and press play. 4. Watch your moves replay and at the point where you wish to step back into write, press JOIN. JOIN

All the parameters which were in write in step 2 now step into write (join) at their current value. If you keep playing you will now overwrite your unwanted moves.

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Chapter 6: Timecode Automation Step In/ Step Out Functions

Punch In/Punch Out Automation The Punch In and Punch Out times can be used for two applications: •

To automatically set the timecode positions where controls will step in and step out of write so that you do not accidentally update automation outside of this timecode window.

•

Or, to apply parameter values to a region of the mix. For example, to write values for the whole of a Chorus or scene.

In either case, first you need to set the punch in and out times as follows: 1. If not already selected, press the AUTO SCREEN CONTROL button to access the Pass Tree display: 2. Play or locate your timecode to the punch in time. 3. Then on the AUTOMATION front panel, locate the MARKER CONTROL buttons. 4. Press SET (it will flash) followed by IN: IN

The current timecode position is entered in the Punch in time box on the Pass Tree display. 5. Now play or locate your machine to the punch out time, and press SET followed by OUT. OUT

The current timecode position is entered in the Punch out time box on the Pass Tree display:

6. Deselect the flashing SET button to complete this part of the operation.

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Chapter 6: Timecode Automation Step In/ Step Out Functions Automatic Punch In and Out To use the punch in and out times to automatically step in and out of write: 1. Make sure that the SET button is off. 2. Turn on the IN and OUT buttons to make the punch in and punch out times active.

The buttons turn blue when active. 3. Now rewind before the punch in timecode and press Play.

At the Punch in time, time all parameters and modules which have been selected for automation step into write at their current values. The R/W buttons beside each fader will turn red when in write. 4. You can now write new moves into the automation.

When you pass through the Punch out time, time all parameters and modules step out of write back to the Play Pass. The R/W buttons beside each fader will turn green. You can select the IN and OUT buttons independently if you wish to only step in or step out automatically. 5. When you have finished mixing that section, remember to deselect the IN and OUT buttons to deactivate the automatic punch in/punch out mode.

Fill Region To apply parameter values to a region of the mix. For example, to write values for the whole of a Chorus or scene: 1. Set the Punch In and Punch Out times to define the start and end of the region as described earlier. 2. Now play through the section of the mix and adjust any parameters to the values you wish to write for the region.

You will now have a selection of parameters in write. 3. Before you rewind or finish the pass, press the FILL COMM button, located in the GLOBAL CONTROL section of automation controls:

Any parameters in write are written at their current value between the Punch In and the Punch Out times.

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Chapter 6: Timecode Automation Protecting Automation Data

Protecting Automation Data Having written automation, you may wish to play back your mix data but protect it from being overwritten. There are a number of options available: •

PLAY SAFE – when running in ‘Play Safe’, all channels will read automation data from the Play Pass but cannot write new data. In addition, if you move the position of a control, you will NOT hear any change in the audio. This mode applies globally to all channels and parameters, and is a great mode to use when laying back your mix.

•

BYP – this mode is very similar to ‘Play Safe’. When running in ‘Bypass’, all channels will read automation data from the Play Pass but cannot write new data. The difference to ‘Play Safe’ is that if you move the position of a control you WILL hear the change in audio.

While running in ‘Bypass’, if you adjust a control and like the new value, you can step the control into write using Direct IN (DIR DIR IN). IN See Page 364. •

SEL ARM – alternatively, you may wish to protect the mix data on individual controls while you write new moves on others. To do this use the SEL ARM function. Armed controls are armed for reading and writing automation data. Disarmed controls will read automation but cannot write new data.

•

SNAP ISO - finally, you can isolate individual channels completely from the automation system so that they do not read or write automation data. Effectively, this turns off the automation system but on individual channels only.

Let’s look at these functions in more detail.

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Chapter 6: Timecode Automation Protecting Automation Data

Play Safe This mode applies globally to all parameters of the console: 1. To enable this mode, press the PLAY SAFE button located on the AUTOMATION GLOBAL CONTROL panel:

Once selected, all channels enabled for automation will read data from the Play Pass but not write new data if touched or changed. 2. If you move the position of a control, you will NOT hear any change in the audio, and when you let go the control will step back to its Play Pass position.

Bypass This mode applies globally to all parameters of the console: 1. To enable this mode, press the BYP button located on the AUTOMATION GLOBAL CONTROL panel:

Once selected, all channels enabled for automation will read data from the Play Pass but not write new data.

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Chapter 6: Timecode Automation Protecting Automation Data 2. If you move the position of a control, you will hear the change. You now have two options: •

If you Stop, Rewind and Press Play, the control will revert to its Play Pass position.

•

However, if you like the new position of the control, you can step it into write at the new value using the DIR IN (Direct In) button: 3. Press DIR IN located on the DYNAMIC MODE/WRITE DATA panel:

Any parameters which have been altered from their Play Pass positions will step into write at their current values. If you now finish the pass, then automation will be written according to your choice of STEP OUT mode. Note that the DIR IN button is only active when running in Bypass mode.

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Chapter 6: Timecode Automation Protecting Automation Data

Arm and Disarm The SEL ARM function allows you to protect the mix data on individual channels or controls. You can choose to arm or disarm any number of parameters on any number of channels. For example, you may wish to protect the mute automation on a channel: 1. Assign the channel you want to protect to the Central Control Section, either by pressing its fader SEL button or entering the channel type and number from the ACCESS CHANNEL/ASSIGN control panel. 2. Press the SEL ARM button, located in the DYNAMIC MODE/WRITE DATA section of automation controls.

The button flashes green to show it is active. On the Central Control Section the current status of all modules are shown as follows:

•

SEL button lit (yellow) = module is armed (read and write)

•

SEL button off = module is disarmed (read only)

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Chapter 6: Timecode Automation Protecting Automation Data 3. On the Central Control Section, select the audio module(s) you wish to disarm, in this example the mute, by deselecting its SEL button.

The SEL button LED turns off showing that the module is now disarmed on that particular channel. This means that the Play Pass mute automation will play out when automation is on, but you cannot write new automation data. In the example of mute automation you will not be able to change the status of the mute switch as it is now locked into automation replay. 4. Deselect SEL ARM or press ESC to complete the operation. 5. To re-arm mute automation, repeat the operation and reselect the mute SEL button during step 3. You can arm or disarm parameters across multiple channels, using the MLT button, as described for selecting parameter automation on Page 337. Or, you can arm or disarm parameters within a cluster of channels as follows: 1. Define the cluster of channels as described on Page 356. 2. Make sure that one of the channels in the cluster is ‘in access’ by selecting its fader SEL button. 3. Then press SEL ARM. ARM

The button flashes green to show it is active. 4. On the Central Control Section, select the audio module(s) you wish to arm or disarm as described above.

All modules within your cluster of channels will be armed or disarmed accordingly.

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Chapter 6: Timecode Timecode Automation Recalling a Snapshot or Sequence

SNAP ISO To temporarily take a complete channel out of automation so that it neither reads nor writes data, you can use the SNAP ISO button on each fader strip.

1. Press SNAP ISO ISO on the fader strip(s) you wish to isolate.

The buttons light across the console, and any fader R/W buttons will go out to reflect they are no longer playing back or writing new data.

Recalling a Snapshot or Sequence You may recall snapshots or play out a sequence, with or without crossfades, while running the automation system. For example, to to record a complete scene/section change against timecode. The system behaves as if every control was touched and therefore allows you to step in and out of write as if you had manually updated the controls. The snapshot recall will respond to Snapshot ISO in the usual way. Note that depending on the size of the mix, and the number of changes actioned by the snapshot, there may be a slight delay when recalling the snapshot.

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Chapter 6: Timecode Automation Mixes and Passes

Mixes Mixes and Passes Within the current production, you can create multiple mixes and within each mix store multiple passes. This system is designed so that, for example, your production may store all the low level console settings for a particular client or album. Within the production, you can then create multiple mixes for different jobs or songs which you are working on. The pass history then provides a mechanism for managing subtle variations of the mix, for example vocals higher, rhythm section lower, etc. Remember that every time you finish a pass you create a temporary pass. To store all the passes for the mix permanently, you must update the production. See Page 241 for details on how to do this now. If you forget to update the production, you can use the backup production memory to recover lost data, see Page 246 for details. However, it is strongly recommended that you update your production regularly. This ensures that all passes are stored for all mixes on a regular basis, and guarantees that you will be able to recover this mix at a later date.

Changing Productions A single production may store multiple mixes for, say, all the songs on an album. When you load a different production you are loading a new set of mixes into the console. Therefore, always update or save your production before loading a new one. Please see Chapter 5 for more details on working with productions. Note that when a production is saved or updated, the system stores which mix was Active, and which Play Pass was current for each mix. This means that when you load back a different production, you will always get back to the last mix and pass you were working on. To load back a mix from a different production, first load the production as described on Page 238.

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Loading a Mix The active mix stores all the Play Passes created while automation is enabled. At any time you can load a different mix within the production from the Mixes display. This provides quick access to different songs or jobs for a particular client. Note that when you change to a different mix, any passes created within the previous mix are held in temporary memory. This allows you to change quickly between mixes and passes within the same production. However, remember that if you change to a different production, the temporary memory is cleared. Therefore, always update your production to save mixes permanently. 1. If not already selected, press the AUTO SCREEN CONTROL button to access the Mixes display:

2. Using the trackball or navigation buttons, focus on the list of mixes and select the mix you want to load.

The selected mix name is highlighted in black – for example, mix0000. mix0000 3. Press the LOAD soft key located above the trackball.

Mix0000 becomes the Active Mix and its name appears at the top of the display. If automation is enabled, then the settings on the console will update to reflect the automation positions for the last Play Pass created within the new mix.

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Chapter 6: Timecode Automation Mixes and Passes If automation is not enabled, press the ON button located on the AUTOMATION control panel to load in the mix settings. Note that when the production is updated, the system stores whichever Play Pass was selected for each mix. This means that when you load back a different mix, you will always get back to the last pass you were working on.

Renaming a Mix To rename a mix: 1. From the Mixes display, select the mix you wish to modify either using the trackball or navigation buttons.

The selected mix is highlighted in black. 2. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show EDIT, EDIT DEL and PROT. PROT 3. Press EDIT EDIT:

A green cursor appears highlighting the first letter of the existing name. 4. Edit the name by typing a new name on the keyboard. Note that as you type, you overwrite the existing name. Therefore, rather than worrying about deleting existing characters, type your new name and then press the space bar to remove any remaining characters from the name. 5. When you have finished, press the Enter button on the keyboard to confirm the new name.

This completes the naming operation. 6. If you make a mistake or want to exit the naming mode, press the Esc button on the keyboard or deselect the EDIT button.

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Chapter 6: Timecode Automation Mixes and Passes

Adding a Memo You may use the two lines below the mix name to add a memo.

1. Repeat steps 1 to 4 for naming the mix.

The selected mix is highlighted in black with the green cursor highlighting a letter. 2. Press the Enter button on the keyboard.

The cursor moves down to the first line of memo information and you may type to enter your information. 3. Press Enter again to access the second line of the memo field. 4. When you are finished, press the Esc button on the keyboard or deselect the EDIT button to exit the memo field.

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Protecting a Mix You can protect important mixes so that they cannot be deleted or accidentally updated: 1. From the Mixes display select the mix you wish to protect either using the trackball or navigation buttons:

The selected mix is highlighted in black. 2. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show PROT, PROT EDIT and DEL. DEL 3. To protect the mix, press PROT PROT.

A Padlock icon appears next to the mix to show that it is protected. A protected mix cannot be deleted. In addition, you cannot create a new Record Pass within a protected mix.

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Deleting a Mix Deleting a mix removes it from the internal memory. Therefore, take care when using this feature. Note that you cannot delete a protected mix. 1. From the Mixes display select the mix you wish to delete either using the trackball or navigation buttons:

The selected mix is highlighted in black. 2. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show PROT, PROT EDIT and DEL. DEL 3. To delete the mix, press DEL DEL. You cannot delete a protected mix.

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Working with the Pass Pass Tree The system keeps all finished passes for the active mix in the Pass Tree display. This means that you can revert to an earlier pass at any time, even while in play. For example, you may want to A/B between two different passes, or write two different versions of automation for a chorus or scene. See Page 331 for details on how to revert to an earlier pass. Each time you revert to an earlier pass and then make updates, you start a new branch within the tree. With lots of reverts, this can lead to a complex tree, for example:

If the tree is wider than the display, then the display will automatically scroll as you focus on passes to the left or right of the edge. Similarly, if the number of passes within a branch is too long for the display, then the page scrolls up or down accordingly. To avoid too much display scrolling, create a new Mix rather than a new pass to store different data.

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Viewing Passes by Name or Date/Time You can view the passes in the tree either by name or by date/time. To change the view: 1. Make sure that the PAGE button, located in the middle of the SCREEN CONTROL soft keys, is not selected.

The four soft key functions show PLAY, PLAY TIME, TIME GLDE and TC O. O 2. To change the view, press the TIME soft key.

When viewing by date/time you will see the date and then the time when the pass was finished.

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Chapter 6: Timecode Automation Mixes and Passes

Renaming a Pass To rename a pass: 1. From the Pass Tree display, select the pass you wish to modify either using the trackball or navigation buttons.

The selected pass is highlighted in black. 2. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show EDIT, EDIT DEL and COMB. COMB 3. Press EDIT EDIT:

A green cursor appears highlighting the first letter of the existing name. 4. Edit the name by typing a new name on the keyboard. Note that as you type, you overwrite the existing name. Therefore, rather than worrying about deleting existing characters, type your new name and then press the space bar to remove any remaining characters from the name. 5. When you have finished, press the Enter button on the keyboard to confirm the new name.

This completes the naming operation. 6. If you make a mistake or want to exit the naming mode, press the Esc button on the keyboard or deselect the EDIT button.

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Chapter 6: Timecode Automation Mixes Mixes and Passes

Deleting a Pass Having created several passes, you can delete any which you no longer require. Note that you cannot delete the current Play Pass. Pass Deleting a pass removes it from the internal memory. Therefore, take care when using this feature. 1. From the Pass Tree display, select the pass you wish to delete either using the trackball or navigation buttons.

The selected pass is highlighted in black.

2. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show EDIT, EDIT DEL and COMB. COMB 3. To delete the pass, press DEL DEL.

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Combining Mix Passes Within a mix, you can choose to combine the automation data between two passes. For example, to copy the Chorus section from one pass to another. Note that data is always combined from the Selected Pass into the Play Pass, between the Punch in and Punch out times shown on the Pass Tree display. 1. From the Pass Tree display, make the pass you wish to combine into the current Play Pass. 2. Then select the pass you wish to combine from.

In our example, we are combining from the Rough Mix into pass010:

4. Next, set the punch in and out times as described on Page 360.

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Chapter 6: Timecode Automation Mixes and Passes 5. Press the PAGE button, located in the middle of the SCREEN CONTROL soft keys, to access the second level of soft key functions.

The four soft key functions update to show EDIT, EDIT DEL and COMB. COMB 6. To combine the passes, press COMB COMB.

A new pass is created from the Play Pass and the Sel Pass as shown below:

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Setting an Offset Timecode If you wish you can offset the internal timecode of the automation system. For example, if your mix starts at an odd timecode value and you wish to view it as starting at 01:00:00:00. 1. First, select the System display and GUI topic.

2. Focus on the Time display parameter and select the OFF (Offset) soft key option.

The timecode shown at the top of each display will now show the offset timecode. 3. Now press the AUTO SCREEN CONTROL button to access the Pass Tree display:

4. Locate your machine to the timecode which you wish to offset to Midnight (00:00:00:00).

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Chapter 6: Timecode Automation Mixes and Passes 5. Make sure that the PAGE button, located in the middle of the SCREEN CONTROL soft keys, is not selected.

The four soft key functions show PLAY, PLAY TIME, TIME GLDE and TC O. O 6. To set the offset, press the TC O soft key.

The current timecode position is entered in the Midnight box, and the timecode at the top of all displays is offset accordingly:

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Chapter 6: Timecode Automation Front Panel Control Control Summary

Front Panel Control Summary The AUTOMATION control panel provides access to the following functions:

Global Control

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•

ON – turns the automation system on or off. When on, automation replays from the Play Pass within the Active Mix.

•

CANCEL – cancels the Record Pass, see Page 330. Use this button to discard moves which you have just written.

•

PLAY SAFE – use this mode to protect your mix. When running in ‘Play Safe’, all parameters will read automation data from the Play Pass but cannot write new data. In addition, if you move the position of a control, you will NOT hear any change in the audio.

•

BYP – identical to ‘Play Safe’; all parameters will read automation data from the Play Pass but cannot write new data. However, if you move the position of a control, you WILL hear the change in the audio.

•

START WRITE – press this button to step all parameters into write.

•

STOP WRITE – press this button to step all parameters out of write.

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Chapter 6: Timecode Automation Front Panel Control Summary •

JOIN and JOIN AUTO – use these buttons if you are going to be reviewing and updating a section of the mix. See Page 358.

•

FILL COMM (Fill Region) – use this button to write any parameter values in write between the Punch In and Punch out times.

Dynamic Mode/Write Data •

SEL AUTO – flashes red when selected. Use the Central Control Section SEL buttons (they turn orange) to choose the audio modules you want to automate, see Page 336.

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SEL DYN – flashes red when selected. Use the Central Control Section SEL buttons to choose dynamic or static automation for each audio module, see Page 345.

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SEL ISO – reserved for future implementation.

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SEL ARM – flashes green when selected. Use the Central Control Section SEL buttons to arm or disarm (write protect) each audio module, see Page 364.

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WRITE R/W – flashes red when selected. Turns the fader strip R/W buttons and the Central Control Section SEL buttons into step in and step out of write controls, see Page 334.

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SEL TRIM – reserved for future implementation.

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DIRECT IN – allows you to step a control into write when running in Bypass, see Page 364.

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MLT – allows you to set the automation selections, modes and arming across multiple channels, see Page 337.

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CLUST – allows you step in and out of write on a cluster of channels, see Page 356.

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ALL – reserved for future implementation.

Step Out Mode •

FILL START – selects the fill to start automation mode.

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FILL END – selects the fill to end automation mode.

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NEXT CHANGE – selects the next change automation mode.

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GLIDE – when enabled, variable parameters will glide back to the Play Pass. The glide time can be set from 0 to 60,000 ms.

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STEP OUT – selects the step out automation mode.

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OUT IF IF CRSS – selects the out if cross automation mode.

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Chapter 6: Timecode Automation Front Panel Control Summary

Manual Mode •

ABS, ABS TRIM and KT (Key Touch) - are reserved for future implementation.

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Touch – when enabled, faders and variable controls will automatically step out of write on release.

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FINISH – press to finish a mix pass manually, see Page 328.

Marker Control

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SET – press to set the punch in or out times.

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IN – press to enable automatic step into write at the punch in time. (If SET is active, press to set the punch in time.)

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OUT – press to enable automatic step out of write at the punch out time. (If SET is active, press to set the punch out time.)

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Chapter 7: Signal Routing Introduction

Chapter 7: 7: Signal Routing Introduction In this chapter you’ll learn about the mc266 66’s routing capabilities handled from the Signals display. The console’s integrated digital routing matrix allows you to route any source to any channel, and any output mix or send to any destination. In addition, you may route sources directly to destinations, for example to feed a Mic/Line input to an AES output for archive recording purposes. Multiple consoles may also be networked in order to share I/O resources. For example, to share the same microphone input between two consoles. In addition, this chapter covers input and output settings. These are handled from the Signal Settings display and provide the following functions: •

Reverse interrogation for sources and destinations – use this function to see a list of all sources feeding a particular destination, or all destinations being fed from a particular source. See Page 404.

•

Mix-minus configuration – the assignment of auxiliary sends for mix-minus (N-1) outputs. See Page 115.

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Isolate – allows you to isolate sources and destinations from snapshot recall so that you can protect important signals such as main distribution or monitor feeds from accidental reset. See Page 404.

•

Router level control – sets digital input and output levels within the console’s router. This level is independent of the input gain control. For example, you may wish to correct a 3dB offset between the left and right sides of an incoming stereo source within the router rather than on the input channels. See Page 407.

•

Digital input and output settings (see Page 406):

•

o

I/O DSP on/off – the option to bypass input and output router DSP functions such as level control.

o

Input SRC on/off – the option to disable sample rate conversion on digital inputs.

o

Output sample rate selection – clock selection for digital outputs; options include System Clock, 44.1kHz, 48kHz or outputs may follow the input sample rate from which they are routed.

o

Output word length selection – options for 16-, 20- or 24-bit.

Tone generator control (see Page 412).

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Chapter 7: Signal Routing The Signals Display

The Signals Display All routing within the console is handled by the Signals display. 1. Press the SIGNAL button, located on the SCREEN CONTROL panel, to view this display now:

Note that each time you press the SIGNAL button you toggle between two pages – Signals and Settings. Settings The current page is always highlighted at the top of the display – in our example, page 1 of 2. The display represents the console’s integrated router, with sources listed on the left side of the display and destinations on the right. In order to keep the list manageable, sources and destinations are divided into Directories and Subdirectories Subdirectories. es If the selected source and/or destination are already routed, then a green link appears to show the route on the display. Sources and destinations are marked by a white cross with a red dot in the middle if they are already routed to a destination. You may see a number of other marks to help identify certain types of signal:

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•

Interlocking red and green circles indicate that the source or destination is stereo.

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If a source or destination name is shown in white, then the signal is disconnected, see Page 397.

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A T prefix indicates Tiny (reduced processing) channels.

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An S prefix indicates that a source or destination is ‘Shared’ (made available) to another console.

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An I prefix indicates that a source or destination is ‘Imported’ from another console.

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Chapter 7: Signal Routing The Signals Signals Display 2. Using the trackball or navigation buttons, select one of the Source Directories from the top left of the display (e.g. Stagebox). Stagebox

The selected directory is highlighted in black and the list of available Subdirectories updates. 3. Now select one of the Subdirectories (e.g. Mics). Mics

The selected sub-directory is highlighted in black and the Source Name and Label columns update to show the available sources. 4. One of the sources will be selected, in black e.g. MIC_06.7 MIC_06.7:

If this source is routed to a destination on the right hand side of the display, then the route is marked with a green line linking the source to its destination. In our example, the selected source (MIC_06. MIC_06.7 MIC_06.7) is routed to INP7 INP7 (Input channel 1). 5. Using the trackball or navigation keys, move up and down the list of sources to get a feel for the operation. 6. Repeat steps 2 and 3, this time selecting a destination from the right hand side of the display. You can interrogate all the routes to or from a particular source or destination from the Settings display. Please refer to Page 404 for details. Depending on the I/O configuration of your system, you may have different directory and sub-directory names from our example. In addition, note that each source and destination label may be programmed and saved with the snapshot for the production. Please refer to Page 395 for details on how to use source and destination labels.

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Chapter 7: Signal Routing The Signals Display

Routing a Source to a Destination To make a route using the Signals display, for example, to route a microphone input to channel 7 (e.g. INP7): 1. Press the SIGNAL button, located on the SCREEN CONTROL panel, to view the Signals display:

2. Using the trackball or navigation buttons, select the source directory (e.g. Stagebox) Stagebox and sub-directory (e.g. Mics) Mics on the left of the display.

Your selections are highlighted in black and the Name and Label columns update to show all available sources. 3. Now select either the Name or Label for the source you wish to route (e.g. MIC_06.7 MIC_06.7)

Your selected source is highlighted in black. 4. Next, select the destination in a similar fashion. For example, select Inputs/Mon as your directory, Inp 11-24 as the sub-directory followed by INP7 INP7 from the Name and Label list.

Your selected destination is highlighted in black.

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Chapter 7: Signal Routing The Signals Display 5. To make the route press the CONN (Connection) soft key located above the trackball.

The Signals display updates with a green line showing the route between your source and destination. If the input channel is allocated to a fader strip on the control surface, you will see the Fader Label update, and also the name and label on the Channel display. However, note that you don’t need to have the channel assigned to the surface in order to assign a source. Note that if the INHERIT button is active, see Page 231, the labels show the name of the source rather than the DSP channel. For help on assigning input channels to fader strips, please see Page 192. If you make a mistake or want to undo an existing route: 6. Repeat steps 1 – 4, and press DCON (disconnect) to undo the route.

The green line between the source and destination disappears from the Signals display.

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Chapter 7: 7: Signal Routing The Signals Display

A/ B Input Sources For any input or monitor DSP channel, you may assign a main source (A) and back up source (B). For example, you may assign the main wireless mic for your presenter to INP 1 source A, and a spare mic to INP 1 source B. You can then switch quickly from A to B during the show if the first mic fails. Therefore, you will find two Destination Destination options when assigning sources to input and monitor DSP channels from the Signals display:

•

Select the A INP or A MON subdirectory to assign a source to an A input.

•

Select the B INP or B MON subdirectory to assign a source to a B input.

For more details on switching between A and B sources, see Page 92.

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Chapter 7: Signal Routing The Signals Display

Routing to Multiple Destinations To route a range of sources to a range of input channels, for example, to route Microphones 1-24 to Input Channels 1-24, use the ‘step forward’ mode as follows: 1. Press the SIGNAL button, located on the SCREEN CONTROL panel, to view the Signals Signal display:

2. Using the trackball or navigation buttons, select the source directory (e.g. Stagebox) Stagebox and sub-directory (e.g. Mics) Mics on the left of the display.

Your selections are highlighted in black and the Name and Label columns update to show all available sources. 3. Now select either the Name or Label for the first source you wish to route (e.g. MIC_06.7 MIC_06.7).

Your selected source is highlighted in black. 4. Next, select the first destination channel in a similar fashion. For example, select Inputs/Mon as your directory, Inp 11-24 as the sub-directory followed by INP7 INP7 from the Name and Label list.

Your selected destination is highlighted in black.

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Chapter 7: Signal Routing The Signals Display 5. Now press the PAGE button, located above the trackball, to access the second page of soft key functions.

The displays above the four soft keys update to show STER, STER EDIT, EDIT STEP and SHAR functions. 6. Press the STEP key to activate the step mode. 7. Now deselect PAGE and press the CONN soft key.

Note how the source and destination selections on the Signals display now automatically step down the list each time you press the CONN button. 8. Continue pressing the CONN button until all of your sources are connected to your destinations.

As you step down through the list, note the crosses which appear showing that you now have routes made to the sources and destinations. If the list of sources is shorter than the list of destinations, then when you reach the last source in the list, the step mode automatically scrolls back up to the first source in the list. This allows you to continue making routes from the sources to the remaining destinations, for example, to route microphones 1-8 to input channels 1-8, 9-16 and 17-24. In addition, note that the step function can be used with an offset between the starting source and destination. For example, to route Microphones 1-8 to Input Channels 17-24, repeat the above operation but set your first destination channel to be Inp 17 rather than Inp 1. 1

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Creating Stereo Channels While making routes from the Signals display, you may also want to configure whether your destination channels are mono or stereo. This operation duplicates the action of the STEREO button located on the Central Control Section’s IMAGE control panel, see Page 126 for details. To create the stereo channel from the Signals display: 1. Using the trackball or navigation buttons, select either the Name or Label for the odd numbered Destination channel (e.g. INP 1): 1

Your selection is highlighted in black. 2. Select the PAGE button to access the STER, STER EDIT, EDIT, STEP and SHAR soft key functions. 3. Press STER to create the stereo link:

This links the selected channel to its adjacent DSP path. For example, if you selected input channel 3 then the stereo channel is created using input channels 3 and 4. Two interlocking red and green circles appear beside the odd and even sides of the stereo channel to indicate stereo operation. Note that creating the stereo channel does not change your source routing. This allows you to route non-consecutive sources to the left and right sides of the stereo channel from the Signals display.

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Chapter 7: Signal Routing The Signals Display

Marking Stereo Sources In addition to creating stereo destination channels, the Signals display can also be used to mark stereo sources. For example, in a list of microphone inputs, you can choose to mark two of the sources as stereo to indicate the stereo pair of mic inputs. 1. Using the trackball or navigation buttons, select either the Name or Label for the odd numbered Source which you want to mark (e.g. MIC_06.1) MIC_06.1

Your selection is highlighted in black. 2. Select the PAGE button to access the STER, STER EDIT, EDIT, STEP and SHAR soft key functions. 3. Press STER soft key:

Two interlocking red and green circles appear beside the odd and even sides of the stereo source to mark it as a stereo input. Note that this function is for display purposes only and does not change the functionality of the source in any way.

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Chapter 7: Signal Routing The Signals Display

Names and Labels Every individual source and destination is displayed with a fixed system name and a user programmable label. Due to the way in which you can view user labels on the control surface, it’s worth taking a little time to understand the best way of using these labels. On every fader strip, you will find a 4-character alphanumeric display which displays names for your fader strips. Note that each name is shortened to 4 characters – for example, input channel 1 is displayed as INP1; INP1 input channel 11 as IN11; IN11 input channel 101 as I101. I101 The display may be switched between three different names: •

System Name – this is the fixed system name for the DSP channel assigned to the fader strip. For example, INP1 for input channel 1, MON8 for monitor return channel 8 or GRP4 for group master channel 4.

This is the same name as the Destination Name Name on the Signals display, and the name shown in the two grey boxes on the Channel display for layers 1 and 2 of each fader strip. •

Channel Label – this is a programmable user label given to the DSP channel. For example, Guest 1, 1 Gr Mics, Mics etc.

This is the same name as the Destination Label on the Signals display, and the name shown in the two black boxes on the Channel display for layers 1 and 2 of each fader strip. •

Source Label – this is a programmable user label given to the Source which is routed to the DSP channel. For example, Mic 1, Mic 2, 2 etc.

This is the same name as the Source Label on the Signals display.

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Chapter 7: Signal Routing The Signals Display You may switch the label displays between any of the three names from the STRIP CONTROL: LABEL buttons in the centre section of the console: 1. Press DEFAULT to view the system name. For example, INP 1. 1 Use this mode when you preparing a console configuration. This enables you to easily view where you are assigning your input channels, monitor returns, group masters, auxiliary masters, etc. 2. Press USER to view the user channel label. For example, Guest 1. 1 3. Press INHERIT to view the source label of the source assigned to the DSP channel. For example, Mic 1. 1 Remember that in the case of the fader strip label display, the name will be shortened to 4 characters. Note that if no source is assigned to a channel, the fader label continues to display the channel label until a source is assigned. For example, if you have used the names Guest1 Guest1, Guest2 Guest2 and Guest3 Guest3 as channel labels, and Mic1, Mic1 Mic2 and Mic3 as source labels for microphone inputs, when you begin to route sources to channels for the show, the fader labels will display Guest 1, Guest 2 and Guest 3 until a source is assigned. Therefore, if you look across the console and see Mic1, Mic1 Mic2 and then Guest 3 on your fader labels you know that the Guest 3 channel is not yet in use and available for a new guest microphone. In addition, this provides an overview of the routes made from the Signals display without viewing the display on the central control screen. Or, for example, you can easily see if an external controller is doing remote connects on the router to a VTR. For an individual source, the inherit function may be inhibited. This operation must be performed within the factory configuration. Please consult your console specification for details.

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Changing Source and Destination User Labels 1. Using either the trackball or navigation buttons, select your source or destination from the Signals display:

2. Press the SCREEN CONTROL PAGE button to navigate to the second level of soft key functions:

The four soft key functions update. 3. To rename the label, press EDIT EDIT.

A green cursor appears highlighting the first letter of the existing name. 4. Edit the name by typing a new name on the keyboard. Note that as you type, you overwrite the existing name. Therefore, rather than worrying about deleting existing characters, type your new name and then press the space bar to remove any remaining characters from the name. 5. When you have finished, press the Enter button on the keyboard to confirm the new name.

This completes the naming operation, and automatically steps down to the next label in the list. 6. If you make a mistake or want to exit the naming mode, press the Esc button on the keyboard or deselect the EDIT button. 7. Remember to save your snapshot to save your user labels.

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Chapter 7: Signal Routing The Signals Display

Disconnected Signals If the name of a source or destination is shown in white on the Signals display, then the signal is currently disconnected. This can be useful for fault finding and reassurance. For example, in an outside broadcast vehicle, you may have a number of remote Stageboxes. During the setup for the broadcast, you can make routes from microphone sources which connect to these Stageboxes. When the Stagebox is connected to the system, the Signals display shows these source names in black:

If the Stagebox is disconnected from the system, then the names change to white:

If you need further help diagnosing system connections, see the System States display, Page 447, for details.

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Chapter 7: Signal Routing The Signals Display

Networking I/O Resources Two or more mc266 consoles may be networked to distribute I/O resources. For example, to share the same microphone source between two consoles:

Mic 1 &2

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Netlink Shared Mic 1 &2

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In the above example, mics 1 and 2 are physically connected, via a DALLIS I/O unit, to console A. Signals are transferred between the two consoles via ‘Netlinks’, providing the ability to route mics 1 and 2 to console A and/or console B. Each ‘Netlink’ is an audio connection which may be MADI, ATM, AES or Analogue audio, and signals are dynamically allocated as each operator makes routes from the Signals display. Any number of sources may be distributed depending on the physical limitations of your network. Please consult your technical representative for further details on your installation’s configuration.

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Chapter 7: Signal Routing The Signals Display On any console within the network, you can view which sources are distributed from the Signals display:

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•

An S prefix indicates that a source is connected locally to this console, and is ‘Shared’ (made available) to other consoles within the network. In our example, the mic sources would be shown as ‘Shared’ on console A.

•

An I prefix indicates that a source is ‘Imported’. In other words, it is not connected locally to this console. In our example, the mic sources would be shows as ‘Imported’ on console B.

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Chapter 7: Signal Routing The Signals Display On the console which is distributing the signals – in our example, console A - you can select which sources are shared from the Signals display: 1. Using the trackball or navigation buttons, select either the Name or Label for the source you wish to share (e.g. Mic1): Mic1

Your selection is highlighted in black. 2. Select the PAGE button to access the STER, STER EDIT, STEP and SHAR soft key functions. 3. Press SHAR to share the source:

An S prefix appears next to the source name to show that it is now shared. 4. Press SHAR again to unshared the source.

The S prefix disappears. Note that you cannot unshare a source if it has been routed as an imported source within another console. For example, if console B has made a route using the Mic 1 signal, then console A cannot unshare the Mic 1 source until console B’s route is removed. This protects one console from removing routes which are in use by another within the network. If you wish to share a number of sources, then you can use the STEP function to step through and SHARe SHARe a number of sources.

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Chapter 7: Signal Routing The Signals Display Once the source has been shared from console A, then other consoles within the network may access this source (shown as imported) from the Signals display. Note that console B will only be able to access the source if its I/O configuration has been programmed to do so – i.e. a location for the imported source must have been created within an I/O directory and subdirectory. Please consult your technical representative for further details. Once console B can ‘see’ the imported source, then making a route or changing parameters is done in exactly the same way as if the source were local to the console. Note that all consoles within the network have access to the source parameters, and the last console to make a change wins. In our example, consoles A and B both have access to mic preamp control for mics 1 and 2. Similarly for a shared digital destination, both consoles may change parameters like SRC, etc. This operation extends to snapshots. So if both console A and B are using the Mic 1 signal, parameter settings like mic gain, etc. can be reset from snapshots from either console. To control which console resets the mic parameters, use the I/O snapshot filter to prevent recall of I/O settings, see Page 265.

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Chapter 7: Signal Routing The Signal Settings Display

The Signal Settings Display The Settings display provides control of a variety of input and output settings including reverse interrogation of routing, mix minus configuration, digital input and output sample rate conversion, word length and dither selection. 1. Press the SIGNAL button, located on the SCREEN CONTROL panel, to switch to the Settings displays:

Note that each time you press the SIGNAL button you toggle between two pages – Signals and Settings. Settings The current page is always highlighted at the top of the display – in our example, page 2 of 2. The inner part of the display should look familiar, and shows routes made from the source and/or to the destination last selected on the Signals display. One of the sources and one of the destinations are selected in black and appear in the Selection box. The other areas running down the left and right sides of the display now show the current routes and settings for these selections. Using the trackball or navigation buttons, you may focus the display on any of the available areas. Note that throughout this display, the first level of soft key functions provide access to routing functions: •

CONN – press to connect the selected source to the selected destination.

•

DCON – press to disconnect the selected source from the selected destination.

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Chapter 7: Signal Routing The Signal Settings Display

Reverse Interrogation of Signal Routing Reverse interrogation provides a quick way of viewing all the sources feeding a particular destination, or all destinations routed from a particular source. For example, to view all the destinations fed from your first digital input: 1. From the Settings display, select the source you wish to interrogate. If the source does not appear in the current Source Name/Label Name Label list, then revert to the Signals Signals display to select a different Directory and Subdirectory. Subdirectory

A list of all current destinations for the selected source appears in the Destinations box. 2. Focus on the Source Name/Label Name Label list and you may now delete routes made from this source or create new routes using the DCON and CONN soft keys located above the trackball. 3. Press the PAGE button to access the EDIT, EDIT STEP, STEP STER and SHAR source functions – see Pages 397, 391 and 393 for details. 4. Change the focus to the Destinations box to access the LOC soft key. Pressing this button automatically updates the Destination Name/Label Name Label list on the right of the display to show the selected destination’s subdirectory. 5. Use the same operations in reverse to view or edit all sources feeding a particular destination.

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Chapter 7: Signal Routing The Signal Settings Display

Snapshot Isolate The Isolate function is used to isolate sources or destinations from snapshot recall. For example, you may wish to protect important signals, such as main sum distribution or monitor feeds, from accidental reset. To isolate a source or destination: 1. Select the source or destination you wish to isolate from the Signals display. 2. Press the SIGNAL button, located on the SCREEN CONTROL panel, to switch to the Settings display:

3. Using the trackball or navigation buttons, focus on the Isolate box on either the left or right side of the display depending on whether you wish to isolate the selected source or destination. 4. Select the PAGE button to access the second level of soft key functions and select or deselect the ON soft key.

The display updates to show Isolate on or off and changes colour accordingly. When a snapshot is loaded, any routes made to an isolated destination or from an isolated source are not loaded. Note that the Isolate function does not prevent routes from being stored when a snapshot is saved or updated; Isolate only applies when settings are loaded back from a snapshot.

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Chapter 7: Signal Routing The Signal Settings Display

I/O DSP On/Off DSP modules within the router provide the following options for digital I/O: •

Router level control (input or output)

•

Word length selection and dither (outputs only)

In some circumstances you may wish to bypass these DSP modules for particular inputs and outputs. For example to make the digital path suitable for Dolby E operation, you should disable the I/O DSP for both the input and output, and disable any sample rate conversion. The current status of the I/O DSP module is shown on the Settings display for the selected source and destination:

When the I/O DSP module is switched into circuit, the box is highlighted in green; when it is out of circuit, the box is coloured grey. To change the status of the module: 1. From the Settings display, select the source or destination you wish to adjust. 2. Using the trackball or navigation buttons, focus on the I/O DSP box on the left or right side of the display depending on whether you wish to adjust the selected source or destination: 3. Select the PAGE button to access the second level of soft key functions and select or deselect the ON soft key.

The display updates to show I/O DSP on or off and changes colour accordingly.

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Chapter 7: Signal Routing The Signal Settings Display

Router Level Control The Level boxes on either side of the Settings display allow you to set an offset level within the router for any source or destination. For example, you may wish to correct a 3dB offset between the left and right sides of an incoming stereo source within the router rather than on the input channels. Or, if you are providing feeds to broadcast stations requiring different line-up levels, you may apply this level compensation within the router rather than at the main sum or group output. To set the level for a particular input or output: 1. From the Settings display, select the source or destination you wish to adjust. 2. Using the trackball or navigation buttons, focus on the Level box either on the left or right side of the display depending on whether you wish to adjust the level for the selected source or destination:

3. Use the rotary control, located on the SCREEN CONTROL panel, to set the offset level.

Levels may be adjusted from -128dB to +15dB. Note that I/O DSP must be switched on to use this function; when enabled, I/O DSP and Level are highlighted in green.

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Chapter 7: Signal Routing Routing The Signal Settings Display

Input SRC (Sample Rate Conversion) Conversion) On/Off For digital inputs, sample rate conversion defaults to on unless you select otherwise. The SRC on/off box on the left hand side of on the Settings display allows you to disable sample rate conversion for the selected source. Note that the sample rate conversion for digital outputs is automatically selected depending on your choice of clock and word length; see the table in Appendix B, Page 454, for details. Therefore, the destination SRC on/off on box is for display purposes only. To disable SRC for a digital input: 1. From the Settings display, select the source you wish to adjust. 2. Using the trackball or navigation buttons, focus on the SRC box on the left side of the display:

3. Select the PAGE button located between the soft key buttons to access the second level of functions. 4. Deselect the SRC soft key.

Sample rate conversion is switched off and the display updates to show SRC off in grey. 5. To enable the input SRC, switch on the SRC soft key.

Sample rate conversion is switched on and the display updates to show SRC on in green.

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Chapter 7: Signal Routing The Signal Settings Display

Output Sample Rate Selection The default sample rate for digital outputs is referenced to the console’s System clock. Please refer to the mc266 Technical Manual for more details on available clock sources. On digital outputs with sample rate conversion (SRC), you may alter the clock selection of each output. For example, you may wish to send a 44.1kHz feed to a CDR. Note that, depending on your hardware specification, sample rate conversion may be unavailable on some digital outputs. Note that you don’t have to switch sample rate conversion on or off for digital outputs; this is handled automatically depending on your choice of clock source and word length; see the table in Appendix B, Page 454, for details. The destination SRC on/off on off box shows the status of the automatic selection and is provided for display purposes only. To change the sample rate for a digital output: 1. From the Settings display, select the destination you wish to adjust. 2. Using the trackball or navigation buttons, focus on the Clock sel box:

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Chapter 7: Signal Routing The Signal Settings Display 3. Select the PAGE button located between the soft key buttons to access the following options: •

SYSC – system clock. Please refer to the mc266 Technical Manual for more details on available clock sources.

•

44.1 – 44.1kHz.

•

48 – 48kHz.

•

INP – sets the output sample rate to follow the input sample rate from which it is routed.

In each case, the Clock sel box updates to show your selection. In addition, depending on your word length selection, the SRC on/off status may also update. on 4. Repeat the operation for each digital destination you wish to modify.

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Chapter 7: Signal Routing The Signal Settings Display

Word Length Selection The word length for each digital output defaults to 24-bit unless you select otherwise. For example, you may wish to truncate the digital outputs feeding a 16-bit recorder. Note that dither is automatically applied to signals reduced to 20or 16-bits. In addition, your word length selection may change the status of output sample rate conversion; see the table in Appendix B, Page 454, for details. To set the word length: 1. From the Settings display, select the destination you wish to adjust. 2. Using the trackball or navigation buttons, focus the display on the Word length box:

3. Select the PAGE button located between the soft key buttons to access the following options: •

24 – 24-bits.

•

20 - 20-bits.

•

16 – 16-bits.

Note that when 16 or 20-bit are selected, dither is automatically applied as indicated by the Dither box. If 24-bit is selected then the box shows Truncate to warn you that the digital signal will be externally truncated by the receiving device. 4. Repeat the operation for each digital destination you wish to modify.

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Chapter 7: Signal Routing The Signal Settings Display

Tone Generator Control Depending on the hardware specification of your system, the console may have access to one or more internal tone generators. Each tone generator is located on the DALLIS DSP card 947/42, and in a system with multiple DALLIS cards, settings may be adjusted independently for each generator. 1. Select the tone generator source you wish to adjust from the Signals display. You will need to locate the correct DALLIS directory and subdirectory in order to locate the tone source. 2. Press the SIGNAL button, located on the SCREEN CONTROL panel, to switch to the Settings display:

At the bottom left of the Settings display are shown the type, frequency and level of signal from the selected tone generator. To change the type of generator signal: 3. Using the trackball or navigation buttons, focus the display on the TG box. 4. Press the SET soft key and now use the rotary control to scroll through the available options: •

WHIT – white noise.

•

PINK – pink noise.

•

SINE – sine wave. 5. Deselect the SET soft key to confirm your selection.

The TG box updates to show the new type of signal.

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Chapter 7: Signal Routing The Signal Settings Display To adjust the level of the generator signal: 1. Using the trackball or navigation buttons, focus the display on the Level box. 2. Press the SET soft key and now use the rotary control to set the level.

The level of the tone generator may be adjusted from 0dB to 128 dB. 3. Deselect the SET soft key to confirm your selection. To adjust the frequency of a sine wave generator signal: 4. Using the trackball or navigation buttons, focus the display on the Freq box. 5. Press the SET soft key and now use the rotary control to scroll through the available options: •

20 – 20Hz

•

49.9 49.9 – 49.9Hz

•

100 – 100Hz

•

200 – 200Hz

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400 – 400Hz

•

440 – 440Hz

•

1K – 1000Hz

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2K – 2000Hz

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2.9K – 2998Hz

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3.9K – 3999Hz

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4.9K – 4987Hz

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6.9K – 6997Hz

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10K – 10000Hz

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15K – 15000Hz

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20K – 20000Hz 6. Deselect the SET soft key to confirm your selection.

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Chapter 8: System Configuration Introduction

Chapter 8: 8: System Configuration Introduction This chapter is for experienced users and deals with the functions and displays provided by the SYSTEM SYSTEM/STATES /STATES SCREEN CONTROL menu: The System display (see Page 415) – contains a range of user options including: •

Global options for snapshot isolate, channel mutes, track self assign, console surround formats, software version display, memory usage and backup snapshot settings.

•

Console surface options for setting bulb brightness, testing bulbs and displays, fader display options, fader calibration and fader bay isolate options.

•

Level options for setting analogue reference levels and headroom, and the overload indicator threshold.

•

Bar graph options for setting metering scale and response.

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Solo button options for latching or momentary operation.

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AFL, PFL and Solo-in place options.

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GUI options for displaying local time or timecode.

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Custom options.

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Wordclock sync and sample rate options.

•

Timecode and frame rate options.

•

Fader/Joystick options.

•

X-Fade options.

The States display (see Page 440) – provides graphical feedback on the status of system hardware and may be used to diagnose system connections and hardware failures. Finally, at the end of the chapter we cover system shutdown and restart (see Page 449). First let’s start with an overview of the system’s hardware and redundancy features.

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Chapter 8: System Configuration Hardware Overview

Hardware Overview The mc266 consists of three principal system components: •

Console control surface - including the integrated control system.

•

HD Core - DSP and routing matrix core.

•

DALLIS I/O interfaces – offering a range of input and output cards which may be connected remotely to the system (up to 2km from the core).

The exact hardware specification of your system will define how many analogues and digital connections are available for external equipment, and how much DSP processing is available for input channels, monitor return channels, groups, sums (main mix outputs) and auxiliary sends. For more details on the HD Core and DALLIS I/O units, please refer to the relevant documentation.

Console Options A range of system options are also available: •

Networking of I/O Resources - two or more mc266 consoles may be networked to share I/O resources. For example, to share the same microphone sources between two consoles. See Page 398 for details.

•

A second external GUI display, independent of the Central Control Section may provide dedicated access to any one of the following: Metering, Metering Main or Sequence display. Note that a configured DVI output must be always be connected for proper operation.

•

Please consult your Lawo representative for more details on any of these options.

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Chapter 8: System Configuration Hardware Overview

Internal Sample Rate Depending on the hardware specification of the system, the mc266 may operate at a choice of internal sampling rates including 96kHz, 88.2kHz, 48kHz and 44.1kHz. The option to run at higher (96kHz or 88.2kHz) or lower (48kHz or 44.1kHz) sample rates is made within the low level configuration data and may not be modified by the user. Within each rate, the user may then choose between the two sample rate options, for example 48kHz and 44.1kHz, from the System display, see Page 438. Note that higher sample rates use twice as much DSP resource as lower sample rates. Therefore when you select the DSP Config display, you will see different numbers of channels available for high and low sample rate productions. See Page 171 for more details on DSP configurations.

System Clock The HD Core offers a fully redundant clock source structure with two independent clock inputs, an internal sync generator and the ability to lock to sync from an incoming multi-channel signal. This allows the console to be clocked from a variety of sync sources and recover from loss of external sync. External sync input 1 may be fed by Wordclock, Black & Burst Video (PAL or NTSC), AES 3, ATM or MADI depending on the configuration of the system. External sync input 2 may be fed by Wordclock, Black & Burst Video (PAL or NTSC) or AES 3. Note that when running the system referenced to Wordclock, the sync frequency must match the internal operating rate of the system as selected from the System display, see Page 438. Within the system you may define a main clock source (Source Priority 1) and a redundant one (Source Priority 2). If sync is lost or a signal of an incorrect frequency appears on Source Priority 1, the system automatically switches to Source Priority 2. Similarly, if sync is lost on Source 2, the system automatically switches to internal sync. In addition, you can activate a return mode so that the system will switch back to Source Priority 1 sync when it returns. The system even checks whether the return sync is valid and will not switch until the sync source matches the chosen operating frequency of the console. The selection of sync source priority signals and return mode is made from the Wordclock options covered later in this chapter.

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Chapter 8: System Configuration Hardware Overview

Redundancy Redundancy may be added to each component of the system to provide fault tolerance in the unlikely event of a hardware failure. •

Redundant DSP - Within the HD core, any number of DSP boards may be reserved to provide redundant processing in the unlikely event of a DSP board failure. For more details, please refer to Page 177.

•

Redundant Router - Within the HD core, a second router board may be fitted to provide redundant signal routing for all signals entering and exiting the core.

If fitted, you will see the redundant router board on the HD core front panel. The spare board is shown in Standby.

In the unlikely event of a failure, the system automatically switches all routes from the faulty board to the spare; the faulty board may then be safely removed and replaced. The replaced board will now act as a spare until further action is taken. You can force a module takeover manually from the front panel by pressing the Module Takeover depressed button. Note that a brief interruption to audio will occur while routes are reconfigured.

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Chapter 8: System Configuration The System Display

The System Display 1. Press the SYSTEM/STATES button, located on the SCREEN CONTROL panel, to view this display now:

Note that each time you press the SYSTEM/STATES button you toggle between two pages – System and States. States The current page is always highlighted at the top of the display – in our example, page 1 of 2. 2. Using the trackball or navigation buttons focus on the list of Topics on the left hand side of the display. 3. Cursor or scroll up and down the list to select a topic.

For each topic, a different subset of Parameters appear. 4. Focus on the Parameter list in the middle of the display and select a parameter either using the trackball, navigation buttons or rotary control.

A Description of the available options for that parameter appears on the right hand side of the display. 5. To select a different option, use the four soft keys located above the trackball.

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Chapter 8: System Configuration Global Options

Global Options Select the Global Topic to set the following console options:

Isolate This option enables or disables all SNAP ISO (Snapshot Isolate) buttons across the console. 1. Press the ENA soft key to toggle between the two states. •

Isolate enable – enables the SNAP ISO buttons.

•

Isolate disable – disables the SNAP ISO buttons.

Mute This option enables or disables all fader strip Mute buttons across the console. 1. Press the ENA soft key to toggle between the two states. •

Mute enable – enables the MUTE buttons.

•

Mute disable – disables the MUTE buttons.

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Chapter 8: System Configuration Global Options Options

Track Self Assign This option allows a monitor channel to be assigned to its associated track bus. Do not use this option when working with a multitrack machine as assigning a monitor channel back onto its track bus will create a feedback loop. The option is designed for applications where monitor channels are not feeding a multitrack machine. 1. Press the ENA soft key to toggle between the two states. •

Track self assign enable – allows monitor channel n to be assigned onto track bus n.

•

Track self assign disable – prohibits monitor channel n to be assigned onto track bus n. Use this option when working with a multitrack machine to inhibit feedback.

Channel mute The mute for all DSP channels may be set to work in one of two different ways: 1. Press the ON soft key to toggle between the two states. •

Channel mute off – when a channel mute is selected, only the post fader outputs of the channel are muted.

•

Channel mute on – when a channel mute is selected, all channel outputs including pre-fader sends are muted.

X/Y Mode Reserved for future implementation.

Surround Mode This option sets which surround format will be utilised for surround panning and monitoring options within the console. Please refer to Appendix A for more details on each of the surround formats. 1. Press each of the following soft keys to make your selection. Note that you may need to press the PAGE button to access all options:

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•

4.0 – LCRS output format for Dolby ProLogic applications.

•

5.1 – 5.1 output format for Dolby Digital and DTS applications.

•

6.1 – 6.1 output format for Dolby Digital EX and DTS ES applications.

•

SDDS – 7.1 SDDS output format.

•

7.1 – Lawo’s own 7.1 panning format.

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Chapter 8: System Configuration Global Options

Software Version and Release Version These two boxes are useful for service when you may need to report the software version running on your system: •

Software Version – this is the generic application version.

•

Release Version – this is the actual version of the release. It is this version which you should report to a Lawo engineer if requested to do so.

Data Memory Memory Load This box indicates the amount of space available on the user data card.

Backup Snap Max. This option sets the number of backup snapshots which will be automatically stored by the system before the first backup snapshot is overwritten. 1. Press the SET soft key and then use the rotary control to set the number of backup snapshots.

The number may be adjusted from 0 (backup snapshots off) to 20. 2. Having made your selection, press SET again to confirm.

Backup Snap Interval This option sets the time interval between backup snapshots. 1. Press the SET soft key and then use the rotary control to set the time interval in seconds.

The interval may be adjusted from 1 to 1000. 2. Having made your selection, press SET again to confirm.

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Chapter 8: System Configuration Console Options

Console Options Select the Console Topic to set the following options:

Bulb Dimmer Sets the brightness of all LEDs, bulbs and text displays across the front panel. 1. Select the SET soft key and then either turn the rotary control or use the up/down navigation buttons to increase or decrease the luminance.

The luminance may be set from 1(low) to 31 (high). 2. Deselect the SET soft key when you are happy with your setting to return to navigating the menus.

Bulb Test Lights all LEDs, bulbs and text displays to check for defects. 1. Press the TEST soft key to enter the test mode.

All LEDs, bulbs and displays will illuminate across the console. Note that all dual coloured bulbs should be orange. If not, then this indicates that either the red or green bulb is faulty. 2. Deselect the TEST soft key to exit the test mode.

The TEST key is the one located on the left hand side of the four soft keys.

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Chapter Chapter 8: System Configuration Console Options

Fader Display Mode This option determines whether the 4-character fader strip display fader values when faders are touched on the console. 1. Press the SENS soft key to set the fader sense mode.

The displays show the fader label unless a fader is touched; then the fader value is show in the display. 2. Press the NAME soft key to deselect the fader sense mode.

The displays will now always show the label name and not display fader values when touched.

Fader Calibrate This option is used to calibrate the faders on the console. 1. Press the CAL soft key to recalibrate the faders.

One fader after another in each 8-fader panel opens and closes to calibrate.

Listen Latch Mode This option defines whether LISTEN AFL functions are latching or momentary (sensing): 1. Press the following soft keys to make your selection: •

LTCH – latching LISTEN.

•

SENS – sensing (momentary) LISTEN.

Select Isolate This option can be used to disable the fader strip SEL buttons within all isolated fader bays. For example, to prevent the second engineer updating the channel in access while a show is running 1. Press the following soft keys to make your selection: •

ON – fader SEL buttons are isolated.

•

OFF – fader SEL SEL buttons are active.

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Chapter 8: System Configuration Console Options

ISO AFL2/PFL2 This option is used to route AFL and PFL selections made within the isolated module onto a second AFL and PFL bus. For example, to provide a second engineer with independent monitoring in a multi-user situation. 1. Press the following soft keys to make your selection: •

ON – The second AFL/PFL output is active..

•

OFF – All AFL/PFL selections route onto the main AFL and PFL bus.

Display Bus Count The next four options enable you to change the number of busses shown on the Channel Display. For example, you may wish to display different number of Group, Aux, Track and Sum assignments depending on your production. 1. Select the bus type you wish to adjust – for example, Disp Group count. count. 2. Select the SET soft key and then either turn the rotary control or use the up/down navigation buttons to increase or decrease the number of Group busses shown on the Channel Display. 3. Repeat for the other bus types.

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Chapter 8: System Configuration Level Options

Level Options Select the Level Topic to make changes to the console’s reference level, headroom or overload threshold. These levels affect the maximum analogue from your system according to the following equation: Maximum Analogue Level = Reference Level + Headroom

For example, the normal settings for EBU operation are shown above (Reference Level = +6dBu and Headroom = +9dB. Therefore, the maximum analogue level is +15dBu.) If your system is fitted with fixed level DALLIS analogue I/O boards, then the headroom and reference level cannot be altered independently. For example, with a +15dBu fixed analogue board and +9dB headroom, the reference level must be +6dBu. In a system with a mixture of fixed level and variable analogue I/O boards, then the system headroom and reference levels operate within the range of the analogue board with the lowest maximum level. The maximum analogue level which the system supports is +24dBu.

Warning Note that changing the reference level or headroom moves the internal 0dB operating point for the system and therefore will change the behaviour of any level dependent settings such as dynamics processing and metering. Therefore, it is not advisable to alter these levels once dynamics processing has been set.

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Chapter 8: System Configuration Level Options If you intend to work with the dBFS digital meter scale option, or an external AES meter, then you should set the Reference Level equal to your maximum analogue level (e.g. +15dBu) and Headroom to 0dB as shown below:

This ensures that the dBFS metering on the Channel Display matches any external AES metering you may have. Note that using this type of setup, the internal 0dB operating level now equals 0dBFS. This means that you are responsible for your own headroom! For example, if you still want a headroom of +9dB, then you will need to set your limiter threshold points to -9dB, etc. See Page 429 for more details on using the dBFS meter scale option.

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Chapter 8: System Configuration Level Options

Reference level Sets the reference level of your analogue interfaces in dBu.

1. Select the SET soft key and then either turn the rotary control or use the up/down navigation buttons to increase or decrease the level in dB.

The reference level may be set from -20dBu to +26dBu, depending on the Headroom level. (Maximum analogue level = +24dB and minimum analogue level = +12dBu). Note that changing the reference level will change the behaviour of level dependent settings such as dynamics processing. In systems with fixed level analogue I/O boards, then adjusting the reference level also adjusts the headroom. 2. Deselect the SET soft key to exit the set mode and return to navigating the menus.

Headroom Sets the operating headroom to the external world; this is the difference between the analogue reference level and digital full scale (0dBFS). Note that the internal Headroom is more then 380dB which means, if you route from input to group to group to sum, you can overdrive the level more then 380dB before clipping! 1. Select the SET soft key and then either turn the rotary control or use the up/down navigation buttons to increase or decrease the level in dB.

The headroom may be set from 0dB to +20dB depending on the Reference level. (Maximum analogue level = +24dB and minimum analogue level = +12dBu). Note that changing the headroom will change the behaviour of level dependent settings such as dynamics processing. In systems with fixed level analogue I/O boards, then adjusting the headroom also adjusts the reference level. 2. Deselect the SET soft key to exit the set mode and return to navigating the menus. mc²66

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Chapter 8: System Configuration Level Options Options

Overload Threshold Sets the overload threshold of your system relative to digital full scale. For example, with the overload threshold set to 0dB, then the overload indicator OVR on the channel meter and fader strip is activated when signal reaches 0dBFS. Set the threshold level to say -3dB to reset this indicator such that it illuminates when signals reach -3dBFS. 1. Select the SET soft key and then either turn the rotary control or use the up/down navigation buttons to increase or decrease the level in dB.

The threshold may be set in 0.5dB steps from -6dB to 0dB. 2. Deselect the SET soft key to exit the set mode and return to navigating the menus. Note that OVR is only indicated if you meter a pickup point from the router to the DSP or from the DSP to the router such as Input, DIROUT, SEND, RETURN. Internally, the system headroom exceeds 380dB!

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Chapter 8: System Configuration Bar graph Options

Bar graph Options Bargraph graphs Select the Bar graphs Topic to set the following meter options:

Full Channel mode This option defines the characteristics for all meters across the console: 1. Press each of the following soft keys to make your selection: •

PPM – Peak metering, 10ms attack time and 1.5s release.

•

SMPL – Sample accurate peak metering, 0ms attack time and 1.5s release.

•

FAST – Fast response peak metering, 1ms attack time and 1.5s release.

•

VU – RMS metering, 300ms attack and 300ms release.

All bargraph meters across the console, including the Main display, update to reflect the new settings.

Scale mode This option defines the scale for all meters across the console: 1. Press each of the following soft keys to make your selection: •

DIN – DIN PPM scale, conforming to IEC 268-10.

•

UK – UK PPM scale, conforming to IEC 268-10 IIA.

•

NORD – NORDIC PPM scale, conforming to IEC 268-10 I.

•

dBFS – dB Full Scale – digital meter scale.

All bargraph meters across the console, including the Main display, update to reflect the new settings.

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Chapter 8: System Configuration Bar graph Options

dBFS Meter Scale Options When using the dBFS meter scale, it is recommended that you return to the Level options and set the Reference Level to your maximum Analogue Reference Level (e.g. +15dBu) and the Headroom to 0dB. This ensures that the dBFS metering on the Channel Display matches any external AES metering you may have:

Note that using this type of setup, the internal 0dB operating level now equals 0dBFS. This means that you are responsible for your own headroom! To help manage this headroom, you can adjust three bargraph options which will change the colour coding of meters on the Channel Display: •

Safe Area - this option sets the point where the meters change from red to orange. For example, you could set this to 9dB to mark your 9dB’s of headroom.

•

Operation Range Range - this option sets the point where the meters change from orange to yellow. For example, you might set the orange area so that you can easily set your levels for a good operation range for your type of programme.

•

Line Up Level - this option sets the position of the green ‘Line up level’ mark.

To set the options: 1. Select the parameter. 2. Select the SET soft key and then either turn the rotary control or use the up/down navigation buttons to increase or decrease the level in dB.

The levels are adjusted relative to the 0dB meter point. 3. Deselect the SET soft key to exit the set mode and return to navigating the menus.

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Chapter 8: System Configuration Bar graph Options

Peak Hold Mode Mode This option defines the behaviour of the peak hold indicator, which monitors and marks the peak level reached on each meter across the console: 1. Press each of the following soft keys to make your selection: •

AUTO – the peak hold indicator will clear automatically after a certain time period set below.

•

MANUAL – the peak hold indicator remains set until you manually select CLEAR. CLEAR

•

OFF – the peak hold indicator is disabled.

•

CLEAR – press this soft key to clear the peak hold indicator and reset the peak level monitoring.

Peak Hold Time This option sets the peak hold time used in the AUTO peak hold mode above: 1. Select the SET soft key and then turn the rotary control to increase or decrease the time in seconds. 2. Deselect the SET soft key when you are happy with your setting to return to navigating the menus.

Peak Hold Colour This option sets the colour of the peak hold indicator: 1. Select the SET soft key and then turn the rotary control to select a colour.

The colour may be selected from Grey, Cyan, Blue, Red, Yellow, Green, White or Black. 2. Deselect the SET soft key when you are happy with your setting.

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Chapter 8: System Configuration Solo Button Options

Solo Button Options Select the Solo Topic to set the following AFL and PFL solo options:

Key Mode This option defines whether AFL and PFL buttons are latching or momentary (sensing): 1. Press the following soft keys to make your selection:

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•

LTCH – latching AFL and PFL buttons.

•

SENS – sensing (momentary) AFL and PFL buttons.

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Chapter 8: System Configuration AFL Options

AFL Options Select the AFL Topic to set the following AFL options:

AFL Add This option defines whether AFL selections are additive or exclusive: 1. Press the following soft keys to make your selection: •

EXCL – only one AFL may be active at any time; selecting a new AFL cancels the previous selection.

•

ADD – allows multiple AFL buttons to be selected, thereby enabling a group of channels to be monitored in context.

AFL follows access access If this option is enabled (ON ON), then when you press a fader strip ON SEL button to put a fader ‘in access’, AFL for the fader is automatically enabled.

Access Access Follows AFL If this option is enabled (ON ON), then when you AFL a fader strip, ON the SEL button to put a fader ‘in access’ is automatically enabled.

Clear AFL1 AFL1 and 2 This function clears all current Solo-in-Place/AFL selections. If the ISO AFL/PFL2 option is active, then the second AFL bus can be cleared separately. Note that AFL and PFL selections may also be cleared by the front panel button within the Control Room Monitoring panel. 1. Press the CLR soft key to clear all AFL buttons.

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Chapter 8: System Configuration PFL Options

PFL Options Select the PFL Topic to set the following PFL options:

PFL Fader Mode This option sets PFL to be cancelled by a fader open and/or activated by a fader closed. 1. Press the following soft keys to make your selection: •

OFF – fader position does not act on PFL selections.

•

ON – choose this option when you wish a PFL to be cancelled when the fader opens.

•

RET – choose this option when you wish to activate PFL on closed faders.

PFL Add This option defines whether PFL selections are additive or exclusive: 1. Press the following soft keys to make your selection: •

EXCL – only one PFL may be active at any time; selecting a new AFL cancels the previous selection.

•

ADD – allows multiple PFL buttons to be selected, thereby enabling a group of channels to be monitored in context.

PFL follows access If this option is enabled (ON ON), ON then when you press a fader strip SEL button to put a fader ‘in access’, PFL for the fader is automatically enabled.

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Chapter 8: System Configuration PFL Options

Access Follows PFL PFL If this option is enabled (ON ON), then when you PFL a fader strip, ON the SEL button to put a fader ‘in access’ is automatically enabled.

Clear PFL1 PFL1 and 2 This function clears all current PFL selections. If the ISO AFL/PFL2 option is active, then the second PFL bus can be cleared separately. Note that AFL and PFL selections may also be cleared by the front panel button within the Control Room Monitoring panel. 1. Press the CLR soft key to clear all PFLs.

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Chapter 8: System Configuration Configuration SoloSolo-inin-Place Options

SoloSolo-inin-Place Options Select the SIP Topic to set the following Solo-in-Place options:

SIP Mode This option determines whether AFLs across the console act as non-destructive AFL or destructive Solo-in-Place buttons. 1. Press the following soft keys to make your selection: •

OFF – all AFLs act as non-destructive AFL buttons.

•

MON – all AFLs act as non-destructive AFL except on monitor channels where the AFL button provides Solo-in-Place for multitrack returns.

•

ALL – all AFLs act as destructive Solo-in-Place buttons.

Clear SIP This function clears all current Solo-in-Place/AFL selections. 1. Press the CLR soft key to clear all AFL buttons. Note that all AFL and PFL selections may also be cleared by the front panel button within the Control Room Monitoring panel.

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Chapter 8: System Configuration GUI Options

GUI Options Select the GUI Topic to set the following Graphical User Interface options:

Time Display At the top of every page on the Central Control Screen a time is displayed. This may be the local time, in 24 hour clock, or timecode from your selected reference: 1. Press the LOC soft key to select local time. 2. Press the TC soft key to select timecode. This is the incoming SMPTE timecode. 3. Press the OFF soft key to select the offset timecode. This shows the offset the timecode as set within the Pass Tree display, see Page 380.

Custom Options The Custom topic provides access to custom console features which may have been implemented on your system. Please consult your technical representative for further details.

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Chapter 8: System Configuration Wordclock Options

Wordclock Options The Wordclock topic covers a range of options for selecting the internal operating frequency of the console and source priorities for incoming sync signals. For background information on sample rate and sync options, see Page 416. Select the Word clock topic to set the following options:

Max Sample Rate This box indicates the maximum internal sample rate for the production (e.g. 48kHz, 96kHz, etc.). The maximum rate may not be changed by the user.

Sample Rate This option sets the current internal sample rate of the system. When running at lower sample rates, you may select either 48kHz or 44.1kHz operation; when running at higher sample rates, you may select either 96kHz or 88.2kHz operation. For example, at lower sample rates: 1. Focus on the Sample Rate parameter: 2. Press the 48 or 44.1 soft key. Note that the option to run at higher (96kHz or 88.2kHz) or lower (48kHz or 44.1kHz) sample rates is made within the low level configuration data and may not be modified by the user.

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Chapter 8: System Configuration Wordclock Options

Sync Source Priority 1 and 2 These two options allow you to select the main and redundant clock source for the system. If sync is lost or a signal of an incorrect frequency appears on Source Priority 1, the system automatically switches to Source Priority 2. Similarly, if sync is lost on Source 2, the system automatically switches to internal sync. 1. Focus on the Source priority 1 or Source priority 2 parameter: 2. Press the SET soft key. 3. Turn the rotary control to select one of the three options: •

Input 1

•

Input 2

•

Multichannel Sync (this option depends on you hardware configuration)

Active Source This option displays the active sync source for the system: •

Src Prio 1 – the input selected as Source Priority 1 above

•

Src Prio 2 – the input selected as Source Priority 2 above

•

Internal – automatically becomes active if the signals present at Source Priority 1 and 2 are lost or invalid.

Note, to force the system to run on internal sync, deactivate the return mode described below and disconnect the sync signals to Source Priorities 1 and 2.

Return Mode This option activates a return mode so that the system will switch back to Source Priority 1 sync when it returns. The system even checks whether the return sync is valid and will not switch until the sync source matches the chosen operating frequency of the console. 1. Focus on the Return Mode parameter: 2. Press the On soft key to activate the return mode. 3. Press the Off soft key to deactivate the return mode.

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Chapter 8: System Configuration Wordclock Options

Internal Sync Alarm This option activates an alarm when the system is running on internal sync. 1. Focus on the Alarm when internal parameter: 2. Press the On soft key to activate the alarm mode. 3. Press the Off soft key to deactivate the alarm mode. The alarm triggers a red on screen Warning flag and illuminates the red LED on the front panel of the HD core router card.

External Sync Input Status The next five options are for display purposes only and show the status of the external and multi-channel sync signals.

For example, the display above shows that there is no sync connected to external input 1, and external input 2 is receiving a valid PAL Black & Burst Video signal. Therefore the Active source is Source Priority 2 = Input 2.

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Chapter 8: System Configuration Configuration Timecode/Frame Rate Options

Timecode/Frame Rate Options The Timecode topic allows you to select the timecode source and frame rate when running timecode automation. Note that the frame rate also sets the delay time for channel delay when adjusting delay in frames. For example, if you select 25 fps, then your delay time for one frame will be 40ms (1/25s). Select the Timecode topic to set the following options:

Timecode Source The console’s dynamic automation may run as a master using its own internal timecode generator, or slave to external Midi timecode. To set this option: 1. Focus on the Source parameter and: •

Press the INT soft key to select internal timecode.

•

Press the EXT soft key to switch to external timecode.

Selecting EXT switches the reference for the console’s automation to the external Midi timecode (MTC) Input.

Timecode Format When running on internal timecode, this option sets the frame rate; the frame rate defines the delay time for channel delay when adjusting in frames. Note that you cannot modify the frame rate when locked to external timecode. 1. Focus on the Format parameter and: •

Press the 24 soft key to select 24 frames per second.

•

Press the 25 soft key to select 25 frames per second.

•

Press the 30 D soft key to select 30 drop frame.

•

Press the 30 soft key to select 30 frames per second.

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Chapter 8: System Configuration Fader/Joystick Options

Fader/Joystick Options The Fader/Joystick Topic allows you to customise the feel of your faders and surround panning joystick to suit your workflow. For example, you may wish to work with a 0dB level fader notch, increase or decrease the brake resistance of the faders and/or work with a PFL Overpress. You can also create notches and brake resistance for the surround joystick to allow you to feel specific room positions as you pan. Note that these options apply globally to all console faders and/or joysticks. Select the Fader/Joystick topic to set the following options:

Fader Notch and Brake Resistance The first six parameters set notches and brake resistance parameters for all the console’s faders: 1. Focus on the Fader mode parameter to turn on or off the following options: •

Press the BRKE soft key to activate the fader brake force.

•

Press the NTCH soft key to activate the fader notch.

•

Press the RUBB soft key to activate fader brake force if the fader moves away from the notch.

You may select multiple options, for example, to activate a fader notch and brake resistance. 2. Now focus on Fader brake force, force press the SET soft key and use the rotary control to set the amount of fader resistance when the BRKE option is active.

The resistance may be set from 1 (smooth) to 3 (stiff).

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Chapter 8: System Configuration Fader/Joystick Options Options 3. Focus on Fader notch width, width press the SET soft key and use the rotary control to set the width of the fader notch when the NTCH NTCH option is active.

The width may be set from 1 (narrow) to 20 (wide). 4. Focus on Fader notch depth, depth press the SET soft key and use the rotary control to set the depth of the fader notch when the NTCH option is active.

The depth may be set from 1 (flat) to 5 (deep). 5. Focus on Fader notch pos, pos press the SET soft key and use the rotary control to set the position of the fader notch when the NTCH option is active.

The position of the fader notch may be set from -128dB (fader closed) to +15dB. +15dB

Fader Overpress The fader overpress switch can be used, for example, to select PFL monitoring when a fader is pulled back against its endstop. Or, to trigger an external event such as a fader start. 1. Focus on the Fader overpress parameter to turn on or off the fader overpress switch: •

Press the OFF soft key to disable the overpress.

•

Press the ON soft key to enable the overpress. For example, use this option if you wish to trigger a fader start from pulling back on a fader.

•

Press the OPFL soft key to enable PFL monitoring from the overpress, otherwise known as backstop PFL monitoring.

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Chapter 8: System Configuration Fader/Joystick Options

Joystick Notch and Brake Resistance The next seven parameters set notches and brake resistance parameters for the console’s joystick panner: 1. Focus on the Jstick mode parameter to turn on or off the following options: •

Press the BRKE soft key to activate the joystick brake force.

•

Press the NTCH soft key to activate the joystick notch.

•

Press the RUBB soft key to activate joystick brake force if the joystick moves away from the notch.

You may select multiple options, for example, to activate a joystick notch and rubber resistance simultaneously. 2. Now focus on Jstick brake force, force press the SET soft key and use the rotary control to set the amount of joystick resistance when the BRKE option is active.

The resistance may be set from 1 (smooth) to 3 (stiff). 3. Focus on Jstick notch width, width press the SET soft key and use the rotary control to set the width of the joystick notch when the NTCH option is active.

The width may be set from 1 (narrow) to 20 (wide). 4. Focus on Jstick notch depth, depth press the SET soft key and use the rotary control to set the depth of the joystick notch when the NTCH option is active.

The depth may be set from 1 (flat) to 5 (deep). 5. Focus on Jstick notch x pos, pos press the SET soft key and use the rotary control to set the x-axis position of the joystick notch when the NTCH option is active.

The x-axis position may be set from -20 to +20. +20 6. Focus on Jstick notch y pos, pos press the SET soft key and use the rotary control to set the y-axis position of the joystick notch when the NTCH option is active.

The y-axis position may be set from -20 to +20. +20

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Chapter 8: System Configuration Fader/Joystick Options 7. The Jstick notch set pos parameter allows you to set the joystick notch position from the current position of the control. Place the joystick control at the desired position, focus on this parameter and then press the SET soft key.

The joystick notch is now set the position of the joystick control. Deselect the SET soft key to exit the notch set mode.

Fader Speed The last option adjusts the speed of all console faders when they respond to automated control, for example snapshot reset or timecode automation: 1. Focus on the Speed parameter and: •

Press the SLOW soft key to set a slow fader speed.

•

Press the NRM soft key to set a normal fader speed.

•

Press the FAST soft key to set a fast fader speed.

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Chapter 8: System Configuration X-Fade Options

X-Fade Options The X-Fade Topic allows you to set the default cross fade parameters which are saved with a snapshot when it is saved or updated. These parameters are applied when snapshots are played out from a Sequence, see Page 311 for details. Select the X-Fade topic to set the following options:

Default Switch Mode This parameter sets whether switched functions, such as mutes, will change state at the start or at the end of the cross fade. 1. Focus on the Default Default Switch Mode parameter and use the soft keys to select one of the following options: •

STRT STRT – switched functions change state at the start of the cross fade.

•

END – switched functions change state at the end of the cross fade.

Default XX-Fade Time This parameter sets the cross fade time. 1. Focus on the Default X X--Fade Time parameter, press the SET soft key and use the rotary control to set the cross fad time.

The cross fade time is set in 100ms steps.

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Chapter 8: System Configuration The States Display

The States Display The States display provides a graphical overview of the hardware contained within your system, and serves to provide a diagnostics tool in the unlikely event of a component failure. 1. Press the SYSTEM/STATES button, located on the SCREEN CONTROL panel, to view this display now:

Note that each time you press the SYSTEM/STATES button you toggle between two pages – System and States. States The current page is always highlighted at the top of the display – in our example, page 2 of 2. On the left hand side of the display, you will see the names of all Cores contained within your system network. Note that if this is a stand alone system, only one core will be visible. The main area of the display is divided into two halves with a graphical representation of the HD core in the upper half. Within the HD core you will see the current slot allocations for DSP, I/O, MADI and ancillary processing boards. In addition, you can also see the core’s main and backup power supply units (PSU 1 and PSU 2). If the system contains external I/O units (DALLIS), then these are shown in the lower half of the display. Again, you can see the configuration of the DALLIS and its PSUs. In systems with more than one DALLIS, you may use the navigation buttons to focus on the HD core Slot list and scroll through the relevant MADI cards to view each connected DALLIS in turn.

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Chapter 8: System Configuration The States Display

Diagnosing System Errors The primary purpose of the States display is to provide hardware diagnostics for the system. In the unlikely event of a component failure, then a red hazard warning indicator appears at the top of the current centre screen display.

1. Select the SYSTEM/STATES button to view the States display and diagnose the error.

Failed components are highlighted in red on the display. Any slot shown in dark grey indicates that a component should be present but is not connected, for example in the case of a disconnected DALLIS unit. Finally, light grey indicates that all components are connected and working correctly. When this is the case, any red error indicators disappear from other centre screen displays. If the failure has occurred within a component not currently visible, for example the third DALLIS unit, then the paths leading to the failed component are highlighted in red – in our example, the red Core, Slot and Dallis lines lead the path to the failure. From here, select the DALLIS unit on the lower half of the display to interrogate the failure.

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Chapter 8: System Configuration System Shutdown and Restart

System Shutdown and Restart Shutting down the System The console and control system should only be shut down by powering down the main PSU unit. TFT displays and front panels are switched off immediately, but the unit provides power to the control system for a further 18 seconds in order to save all current settings to flash memory. This is called the console’s warm start data. You will hear three tones signalling that the shutdown operation has been successfully completed. The system is shutdown when the blue LED of the trackball is off. You may switch off the power to other system components at any time.

Warning Do not shutdown the system by disconnecting the console front panel from the control system as current console settings will not be saved. You may disconnect the front panel once the shutdown process described above has been completed.

Starting the system To start the system, turn on the main PSU power. Note that you may power the console and control system before other interfaces if desired. This enables you to begin setting up the console before remote I/O interfaces have received power. During the restart, the Central Control Screen displays the status during boot-up. All of your previous settings (the warm start data) are recalled from the system’s flash memory ensuring that the console comes back as it was last used. This procedure is called a warm start and ensures fast recovery from a loss of power.

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Chapter 8: System Configuration System Shutdown and Restart Restart

Forcing a Restart You can force a system restart from the control surface without having to switch off and on the power using the following procedure. Note that this method does not save your latest settings in the warm start memory, therefore save a snapshot before using this procedure. 1. On the console keyboard, simultaneously press the CTRL, CTRL ALT and F2 buttons.

This exits the console’s operating displays and accesses the system login screen.

2. Now simultaneously press the CTRL CTRL, ALT and DEL buttons to restart the system.

The Central Control Screen displays the status during boot-up. At the end of the restart the console will load the last valid warm start data; this is the data stored after the last proper shutdown (i.e. not necessarily the settings you had when you forced the restart from the console keyboard!) Therefore, to load back the correct settings for your production, load a snapshot.

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Chapter 8: System Configuration System Shutdown and Restart

Recovering from Software Errors To increase the fault tolerance of the system, the console includes the ability to recover from corrupted data. Note that providing the system is shut down properly, it is extremely unlikely that you will ever need to use these procedures. Firstly, the console’s application software is stored separately from the user data on two different flashcards:

This allows you to boot the system without loading user data if there seems to be an error with the stored data. Secondly, two sets of application software are stored on separate partitions of the System Flashcard. These are called Primary and Fallback. If the two sets of data are identical then the system may recover from an error in one set of data. Normally the primary and fallback application data are identical. However, sometimes you may use the two sets of data to store different versions of software allowing you to boot the console from different versions of code. Check with your technical representative for details on your configuration.

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Chapter 8: System Configuration System Shutdown and Restart To change to the fallback application data, or boot the console without loading any user data, follow this procedure: 1. Force a restart using the procedure described on the previous page. 2. Part way through the start-up, the following display appears on the Central Control Screen:

This screen shows the two partitions called MC2 Primary and MC2 Fallback. Fallback If you do nothing at this point, the system continues, boots from the primary data and loads the warm start user data. 3. To boot from the fallback data, or boot from the primary data without loading user settings, as soon as the screen appears, press either the up or down keyboard arrows to holt the restart process. 4. Now follow the on screen instructions and select either the MC2 Primary or MC2 Fallback data option using the up and down arrows on the keyboard. 5. Press the Enter button and the console will now boot from the selected partition. At the end of the restart, the console is in its default state – i.e. no user data has been loaded. This procedure is known as a cold start. To load back the settings for a show, load one of your productions.

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Chapter 8: System Configuration System Shutdown and Restart

Restarting from the Main PSU The system’s main power supply unit provides the following indicators:

In addition, a recessed switch on the front panel provides the ability to restart the power supply: •

Press the switch quickly to force a warm restart – identical to using the CTRL + ALT + DEL method of forcing a restart.

Warning •

Press the switch for more than 4 seconds to cut all power to the system.

This operation should only be performed if the system is not responding to any other method of restart as shutting down in this way does not allow data files to close and save properly and could result in data corruption.

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Appendices Appendix A: Surround Levels

Appendices Appendix A: Surround Levels The following diagrams show the power output to each speaker, when panning is off, for each of the console’s surround formats: Surround-Level for PAN OFF (corresponding to PAN center, except LFE) Schick 17.06.2005

References: 10*log(0.5/3)= -7.78dB; 10*log(0.5)= -3.01dB; 10*log(0.25)= -6.02dB

Level

4.0 Dolby Prologic

0dB L

C

L

R

C

Σ

S

Power P=100%

R -3dB

P=50%

-6dB

P=25%

-7.8dB

P=16.6% =50%/3

S

Power: 3 * 16,6% + 50% = 100% = 50% front + 50% back

5.1 DTS, Dolby Digital

0dB L

C

L

R

C LFE Ls

Rs

Σ

P=100%

R LFE

-3dB

P=50%

-6dB

P=25%

-7.8dB Ls

P=16.6% =50%/3

Rs

Power: 3 * 16,6% + 2 * 25% = 100% = 50% front + 50% back

6.1 DTS ES, Dolby EX

0dB L

C

L

R

C LFE Ls

Rs Cs (Cs) Σ

LFE

-3dB

P=50%

-6dB

P=25%

-7.8dB Ls

P=100%

R

Cs

P=16.6% =50%/3

Rs

−∞ −∞ Power: 3 * 16,6% + 50% = 100% = 50% front + 50% back

7.1 SDDS

0dB L

Lc

C

Rc

L

R

Lc

Rc

C LFE Ls

Rs

Σ

LFE

-3dB

P=50%

-6dB

P=25%

-7.8dB Ls

P=100%

R

P=16.6% =50%/3

Rs

−∞ −∞ −∞ −∞ Power: 50% + 2 * 25% = 100% = 50% front + 50% back

7.1 Lawo

0dB L

C

R

C LFE Lm Rm Ls

Rs

P=100%

Rm

-3dB

P=50%

-6dB

P=25%

-7.8dB Ls

Σ

R LFE

Lm

L

P=16.6% =50%/3

Rs

−∞ −∞ −∞

−∞ −∞

Power: 2 * 50% = 100% (mittig)

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Appendices Appendices Appendix B: Digital Output Settings

Appendix B: Digital Output Settings For each digital output, sample rate conversion and dither are applied automatically depending on your choice of clock source and word length. The destination SRC on/off on off box shows the status of the SRC; The destination Dither box shows the status of dither::

The following table explains the results of each clock selection and word length combination: Clock Selection

Word Length Selection

SRC on/off

Dither Status

System

24-bit

SRC off

Off (Truncate)

System

20-bit

SRC on

Dither on

System

16-bit

SRC on

Dither on

44.1kHz

24-bit

SRC on

Off (Truncate)

44.1kHz

20-bit

SRC on

Dither on

44.1kHz

16-bit

SRC on

Dither on

48kHz

24-bit

SRC on

Off (Truncate)

48kHz

20-bit

SRC on

Dither on

48kHz

16-bit

SRC on

Dither on

Follow Input

24-bit

SRC on

Off (Truncate)

Follow Input

20-bit

SRC on

Dither on

Follow Input

16-bit

SRC on

Dither on

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Technical Data

Technical Data Control Panel •

Frames from 16 +8 faders to 48+8 faders.

•

6 banks each with 2 layers.

•

100 mm faders + 5 rotary controls per fader strip.

Signal processing •

Up to 512 signal paths - 384 channels and 144 summing buses, 40bit floating point.

•

Delay up to 1800 ms, units in frm, ms and m.

•

Surround formats: DTS/Dolby Digital 5.1, Dolby Prologic 4.0, DTS ES/Dolby EX 6.1, SDDS 7.1, Lawo 7.1, diverse panning characteristics.

•

8-wide AFL bus.

•

Stereo PFL bus.

•

32 AUX sends.

•

Audio follows video with up to 128 events.

•

Solo in place.

•

Permanent Input measuring point in the fader; adjustable measuring points INPUT, PF, AF DIROUT in the channel display.

•

Modules: INMIX, DIGITAL AMP, 2-band fully parametric FILTER, 4-band fully parametric EQ, INSERT, DELAY up to 1800ms, EXPANDER, GATE, COMPRESSOR, LIMITER, IMAGE, METER, DIRECT OUT.

Routing Matrix •

Up to 8192 cross points.

•

96kHz.

•

24 bit.

Interfaces •

Mic/Line, Line Out, AES, SDI, Madi, ATM, GPIO, serial (for further information see the DALLIS manual).

•

Monitoring systems - stereo and surround.

Synchronisation •

Black & Burst, Wordclock, AES3, MADI with automatic switching.

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Technical Data Redundancies

Redundancies Redundancies •

PSUs, DSP boards, Router board, DALLIS boards.

•

PSU for control system and control panel.

Control •

Mix-minus control with two conference systems.

•

Diverse tally- fader start modes.

•

Program switch.

•

Audio follows video.

•

Manifold T/B integration.

External control systems •

External matrix controller VSM, BFE, Jupiter.

•

Lawo TCL.

Remote Maintenance •

Link via ISDN or VPN.

•

Software updates, error diagnostics, remote.

documentation. For further information concerning the system data see mc²66 documentation

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Index Directory

Index Directory 0dBFS- meter scale ..........................429 16-bit ..............................................411 20-bit ..............................................411 20dB PAD..................................91, 132 24-bit ..............................................411 2-CH soft key ..................................170 2nd button – second layer access.....181 44.1kHz - internal sample rate .........416 44.1kHz – output sample rate..........409 48kHz - internal sample rate ............416 48kHz – output sample rate.............409 48V phantom power .................91, 132 5.1 operation.................... See Surround 88.2kHz - internal sample rate .........416 96kHz – internal sample rate............416 A/B Input Switch .......................92, 133 ACCESS CHANNEL/ASSIGN17, 81, 89, 182, 200 ACT soft key....................................290 Active Configuration - DSP Config...173 Active Mix .................... See Automation Active Source - System Display ........439 ACTV soft key .................................175 ADD soft key...........................306, 309 AES 3 sync.......................................416 AF button – METER PICK UP ...........160 AFL monitoring access AFL ...........................433, 435 AFL add .......................................433 AFL button...........................110, 147 clear AFL..............................215, 433 LISTEN controls............................123 monitoring options.......................214 solo button options ......................432 solo-in-place ................................436 System Display options.................433 tutorial ...........................................40 AFL2 ...............................................185 After Fader Listen .. See AFL monitoring AFV................. See Audio Follows Video AFV button......................................119 AFV graph – Main display................119 AFV ON button ...............................227 ALL 1ST button ...............................180 ALL BANK button ............................197 mc²66

V1.8/0

ALL button Parameter Assign ........................ 139 Parameter Reset .......................... 157 alphanumeric displays .See Free Controls ALT button ..................................... 212 Alternate speakers ......... See Monitoring Archiving Files..... See File Import/Export ASSIGN button ......................... 81, 193 Assigning Channels across All Banks and Both Layers ................................. 197 Assigning Channels to Fader Strips.. 192 ATT/RLS control ......101, 102, 103, 104 Attack Time Compressor................................. 103 Expander..................................... 102 Gate............................................ 101 Limiter......................................... 104 Audio Follows Video event assign ................................ 119 events ......................................... 119 fall time....................................... 121 off level....................................... 120 on level ....................................... 120 on time ....................................... 120 release time................................. 120 Auditioning EQ, Dynamics, etc........ 123 AUT LED ........................................ 148 AUTO button ................................... 22 Auto Join ........................................ 358 Automation active mix.................................... 322 arm/disarm ................................. 365 cancel ......................................... 330 Cluster ........................................ 356 combining passes ........................ 378 deleting a mix ............................. 373 deleting a pass ............................ 377 dynamic/static mode................... 345 finish a pass................................. 328 Join ............................................. 358 loading a mix ...................... 368, 369 memo information ...................... 371 Mixes Display.............................. 322 new mix...................................... 323 On .............................................. 326 458/ 458/ 474

Index Directory Backup Productions ........................ 247 Backup Snap Internal - System Display ................................................... 421 Backup Snap Max - System Display. 421 Backup Snapshots ........................... 262 BAL (balance) control................ 92, 128 BANK buttons......................... 179, 217 Banks and Layers Bank switching ............................ 179 invert (flip) layers ........................ 180 isolating fader strips .................... 182 Layer switching ........................... 180 overview ..................................... 178 tutorial .......................................... 12 Bargraph Options - System Display . 429 Black & Burst Video sync................. 416 BNK1 button local bank switching .................... 142 BOTH LAYERS button..................... 197 BRD button..................................... 226 BRKE soft key fader resistance ........................... 442 joystick resistance........................ 444 Broadcast Soft Keys ........................ 143 Bulb Dimmer - System Display ........ 422 Bulb Test - System Display .............. 422 Bus Assign Display ............................ 84 Bus Assignment assigniments to surround outputs .. 82 assigniments to/from ‘hidden’ channels .................................... 81 forward bus assignments ............... 77 locking bus assignments .............. 200 re-assigning bus masters................ 83 reverse bus assignments ................ 79 tutorial .......................................... 38 viewing assignments ........75, 84, 424 BUS ASSIGNMENT ........................... 76 BUS button ....................................... 21 BUS button– Parameter Copy ......... 153 Bus Re-assign.................................... 83 Bus Routing ............ See Bus Assignment Bypass ............................................ 363 C mute ........................................... 211 C/L LED.......................................... 148 CANCEL button .............................. 330 Central Control Screen displaying local time .................... 437

Overview .....................................320 Pass Tree..............................327, 374 protecting a mix...........................372 protection ....................................362 Punch In/Punch Out ....................360 renaming a mix ............................370 renaming a pass ...........................376 revert ...........................................331 saving your data ..................332, 368 selecting parameters ............324, 336 Start and Stop Write ....................355 step in/step out............................334 Step Out modes...........................348 touch ...........................................335 updating fader moves ..................333 what is automated .................15, 320 writing control automation...........342 writing switch automation............340 AUX 1..8, AUX 9..16, etc buttons ....111 AUX BUS button................................78 AUX button .....................................227 AUX button– ACCESS CHANNEL/ASSIGN control ............18 Auxiliary Masters ACCESS CHANNEL/ASSIGN control panel ..........................................18 assigning to fader strips................192 DSP configuration ........................174 fader strip control.........................112 signal processing ..........................163 Auxiliary Sends Aux 17-32 – monitor channel cue sends........................................204 Central Control Section ................111 conference aux sends ...................118 controlling send levels from faders227 cue sends .....................................204 level control .................................111 mix minus (N-1) sends .................114 On/Off control ............................111 post fader, pre fader or pre EQ.....111 stereo auxiliary sends ...................113 tutorial ...........................................57 AUXILIARY/ AUDIO FOLLOWS VIDEO ............................................111, 119 BACK button ...................................301 BACK soft key .................................301 Backstop PFL ...........................434, 443 mc²66

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Index Directory displaying timecode .....................437 Central Control Section a tour of.........................................86 AFL and PFL.................................110 assigning channels .........................89 audio follows video ......................119 auxiliary sends..............................111 channel delay.................................94 digital amplifier (DAMP).................93 direct output (DIROUT) .................96 dynamics processing ......................99 EQ and filters .................................97 fader and mute ............................110 image control.........................93, 129 input control ..........................90, 128 insert send and return ....................95 listen (AFL) control.......................123 locking the assigned channel ..........89 Main Display..................................88 meter pickup points .....................160 mix minus controls .......................122 monitor channel controls..............122 panning ...............................106, 130 SEL button(s) .................................87 tutorial ...........................................64 Centre channel panning...................107 Screen Centre Control ScreenSee displays Centre Section .................................205 CH button– Parameter Copy............153 CHAN/CONFIG button .....................21 Channel bus routing ....................................76 Central Control Section ..................86 copy ............................................150 fader strip controlSee Channel Fader Strips metering ......................................158 reset ............................................156 signal flow ...................................163 source routing..............................388 stereo channels ............................126 CHANNEL buttons...........................122 Channel Config Display ...................165 Channel Display.................................74 CHANNEL DISPLAY buttons ............226 Channel Fader Strips 2nd layer access ...........................149 460/ 460/ 474

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a tour of...................................... 131 AFL and PFL................................ 147 assigning free controls ......... 135, 137 Channel display........................... 131 CORD, CONF and TALK buttons 143 EQ, Pan, Delay, Com on/off........ 142 Fader .......................................... 147 Free Controls............................... 134 input control ............................... 131 meter and status indicators.......... 148 metering ..................................... 158 monitor channel input control ..... 143 mute ........................................... 147 scribble strip ................................ 146 SEL button .................................. 145 snapshot isolate (SNAP ISO)........ 256 Channel mute - System Display option ................................................... 420 Channel type selection...................... 18 CLEAR AFL/PFL .............................. 215 CLEAR BANK button....................... 198 CLEAR button................................. 198 Clear channel settingsSee Resetting channel parameters CLEAR ISO button .......................... 183 Clearing a bank of fader strips......... 198 Clearing individual fader strips ........ 198 CLIPBOARD Fader Level Control ..................... 227 Parameter Assign ........................ 137 Parameter Copy .......................... 151 Clock sel - Signal Settings display .... 409 clock source .................................... 409 Combining Mix Passes .................... 378 Communications............................. 226 Communications – mix minus ......... 114 COMP graph – Main display........... 100 COMP/LIM .......................99, 103, 104 Compressor 2nd button.................................. 103 Attack Time................................. 103 dynamics processing.................... 103 Knee ........................................... 103 LIM button.................................. 103 Look Ahead Delay....................... 103 on/off ......................................... 103 on/off fader strip control ............. 142 output gain ................................. 103 mc²66

Index Directory Default Switch Mode – Snapshot XFade ................................................... 446 Default X-Fade Time – Snapshot XFade ................................................... 446 DEL delete a folder ............................. 252 delete a production ..................... 245 delete a sequence........................ 288 delete a snapshot ........................ 264 delete a snapshot from a sequence ............................................... 308 DEL soft key ................................... 310 Delay channel delay ................................ 94 delay time ..................................... 94 delay units..................................... 94 on/off fader strip control ............. 142 signal processing order ................ 163 tutorial .......................................... 69 DELAY - Main display ....................... 94 Delay Time – Main display ................ 94 Deleting a Mix ................................ 373 Deleting a Pass ............................... 377 Deleting a Snapshot........................ 264 Desk layout................... See Fader Strips Diagnosing System Errors................ 448 DIG AMP button ............................ 227 DIG button ..................................... 226 Digital Amplifier controlling levels from faders....... 227 DAMP gain control ....................... 93 signal processing order ................ 163 Digital gain control . See Digital amplifier Digital input control ........ See Input Gain DIM button .................................... 208 DIN - meter scale............................ 429 DIR button – METER PICK UP......... 160 DIR IN ............................................ 364 DIR OUTP button ........................... 227 Direct Output controlling levels from faders....... 227 send level ...................................... 96 signal processing order ................ 163 DIROUT button ................................ 96 DIROUT– Main display ..................... 96 discrete centre - panning ................ 107 DISP AUX ....................................... 186 Disp Bus Count - System Display..... 424

Ratio ............................................103 Release Time................................103 signal processing order.................163 Threshold Level............................103 tutorial ...........................................68 CONF button ..........................114, 122 Conference aux sends......................118 CONN soft key................................403 Console Keyboard operation of ...................................25 Console Layout............. See Fader Strips Console Options - System Display ...422 Console Reset..................................232 Control groups .........See VCA Grouping Control Room Monitoring................ See Monitoring CONTROL ROOM MONITORING..206 Control Surface assigning channels to fader strips .192 Banks and Layers .........................178 centre section overview................205 configuration ...............................178 front panel overview ........................9 locking your configuration............200 systems overview .........................415 Controls................... See Rotary controls COPY BANK button ........................199 COPY button...................................150 Copying Banks of Fader Strips..........199 Copying channel parameters............150 Copying Files ...... See File Import/Export CORD button ..........................114, 122 CRM 1 control.................................208 Cross Fading Snapshots ...................311 CURR soft key .................................304 DALLIS I/O controlling input settings ........90, 131 systems overview .........................415 DAMP ................... See Digital Amplifier DAMP button....................................93 DAMP/DELAY/INS/DIROUT .............93 Data Memory Load - System Display ....................................................421 Data Storage Structure ....................233 Date - Snapshots display..................254 DCON soft key................................403 DEC/Left button................................23

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Index Directory Encoders .................. See Rotary controls END soft key X-Fade parameters ...................... 446 Enter button ............................... 18, 26 EQ Central Control Section ................. 97 constant Q .................................... 67 DISP button .................................. 66 Frequency range ........................... 66 Gain .............................................. 66 notch filter .................................... 67 OFF buttons.................................. 67 ON ............................................... 66 on/off fader strip control ............. 142 Q/SLP control ............................... 66 shelving......................................... 67 signal processing order ................ 163 tutorial .......................................... 66 types ............................................. 67 EQ Graph – Main display .................. 98 Esc button......................................... 26 ESC button ....................................... 18 Event (EVNT) control ...................... 119 EXP button ............................. 101, 102 Expander 2nd button.................................. 102 Attack Time................................. 102 dynamics processing.................... 102 Hold Time ................................... 102 Look Ahead Delay....................... 102 ON button .................................. 102 output gain ................................. 102 Ratio ........................................... 102 Release Time ............................... 102 signal processing order ................ 163 Threshold Level ........................... 102 EXPANDER graph – Main display ... 100, 102 Exporting Files ................................ 266 External Display ........................ 10, 415 External Sync Input Status- System Display ........................................ 440 EXTK button ..................................... 99 Fader Central Control Section ............... 110 fader strip control........................ 147 signal processing order ................ 163 FADER button............................. 78, 80

DISP DYN........................................186 DISP EQ ..........................................186 DISP MISC.......................................186 Displays ................... See Screen displays Dither ..............................................411 DLY button........................................94 Dolby Digital .................... See Surround Dolby E operation............................406 Dolby ProLogic ................. See Surround Down arrow button...........................23 DSP Channels full processing ......................163, 174 reduced processing (tiny) .....164, 174 DSP CONFIG button .........................21 DSP Config Display..........................173 DSP Configurations changing......................................175 overview ......................................173 redundant DSP.............................177 saving ..........................................176 upgrading your DSP.....................177 DSP Core systems overview .........................415 upgrading your DSP.....................177 DSP-Boards - DSP Config display.....173 DTS .................................. See Surround DUPL soft key .........................307, 310 Dynamics Central Control Section ..................99 Compressor section......................103 Expander section..........................102 filtering the sidechain ...................105 GAIN control........................103, 104 Gate section.................................101 graphs – Main display ..................100 Hard/Soft Knee............................167 Limiter section..............................104 Look Ahead Delay (LAHD) ...........100 signal processing order.................163 EDIT soft key rename a folder............................251 rename a sequence ......................287 rename a snapshot.......259, 294, 309 rename a source/destination label 397 EFF control ......................................106 Effect – Main display .......................106 EFFECT button.................................227 ENABLE button................................135 462/ 462/ 474

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Index Directory File Display ..................................... 266 File Import/Export applications ................................. 266 copying files ................................ 278 deleting files................................ 281 exporting a file ............................ 274 importing a file............................ 277 network drive.............................. 276 new directory .............................. 280 sort by name or date ................... 272 FILL END ........................................ 348 FILL START ..................................... 348 FILTER graph – Main display ............. 98 FILTER MODE buttons.................... 257 Filtering Snapshot Recalls ................ 257 Filtering the dynamics sidechain ...... 105 Filters 2-band filter section ................ 67, 97 DISP button .................................. 67 frequency...................................... 67 OFF buttons.................................. 67 on/off control ............................... 67 Q/SLP control ............................... 67 Sidechain Filters (SCF) ................. 105 signal processing order ................ 163 subsonic filter prior to ADC90, 91, 132 tutorial .......................................... 67 types ............................................. 67 using as a 2-band equaliser ........... 67 FINISH button................................. 328 FIRST LAST button.......................... 194 FLAT button ................................... 107 FLIP button..................................... 180 local layer switching .................... 142 Floor Level - Gate ........................... 101 FLOOR/GAIN control ............. 101, 102 Focus outline – screen displays .......... 22 Foldback sends ........ See Auxiliary Sends Folders.....................249, See Snapshots Forward Bus Assignment................... 77 frame rate....................................... 441 frames (frms) .................................... 94 Free Controls alpha display views...................... 230 alpha displays.............................. 134 assigning free controls ................. 135 FC Presets ................................... 135

Fader Calibrate - System Display......423 FADER CONTROL...........................227 Fader control of levels......................227 Fader Display - System Display options ....................................................423 Fader grouping .........See VCA Grouping Fader labels ........ See Names and Labels Fader meter .....................................148 fader notch......................................442 Fader Notch and Brake Resistance System Display.............................442 Fader Overpress- System Display .....443 Fader Speed- System Display ...........445 Fader Start.......................................443 Fader status indicators .....................148 Fader Strips assigning channels .......................192 assigning multiple channels ..........194 assigning to banks and layers .......197 channel fader strip controls .......... See Channel Fader Strips clearing a bank.............................198 clearing individual assignments.....198 copying banks..............................199 inserting channels ........................195 interrogating assignments ..............30 locking assignments .....................200 Main main fader strip controlsSee Fader Strips tutorial ...........................................34 FAST – fast response metering .........429 F-B control.......................................106 FC CTRL button...............................230 FC PRES button ...............................226 FC PRESET.......................................135 FC PRESETs AFV button ..................................136 AUX1..4, AUX5..8, etc. buttons ...136 CF1..4, CF5..8 buttons .................136 EQ 1/ FI 1 button ........................135 EQ 2/ SCF 1 button .....................136 EQ 3/SCF 2 button ......................136 EQ 4/F I2 button .........................136 GATE, EXP, COM, LIM buttons....136 MISC button ................................136 PAGE 2 button.............................135 PAN button..................................136 FC VALUE button ............................230 mc²66

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Index Directory fine/coarse adjustment.................134 one-shot free control assignment (Parameter assign)....................137 tutorial ...........................................72 FREE soft key...................................304 FREEZE button.................................109 Front/Back panning .........................106 FTME control...................................121 Full channel mode - System Display .429 Fully Featured DSP Channels ...163, 174 Gain control digital amplifier ..............................93 dynamics output gain101, 102, 103, 104 input gain ................... See Input Gain Gate 2nd button...................................101 Attack Time .................................101 dynamics processing ....................101 EXP button...........................101, 102 Floor Level ...................................101 Hold Time ....................................101 Look Ahead Delay........................101 ON button ...................................101 output gain ..................................101 Release Time................................101 signal processing order.................163 Threshold Level............................101 GATE graph – Main display......100, 101 GATE/EXPANDER..............99, 101, 102 General Purpose Channels – ACCESS CHANNEL/ASSIGN control panel ...18 General Purpose Channels (GPCs) ...201 GLIDE..............................................351 Global Options - System Display......419 GPC button– ACCESS CHANNEL/ASSIGN control ............18 GPCs ...... See General Purpose Channels GROUP BUS button ..........................78 GROUP button..................................80 GROUP button– ACCESS CHANNEL/ASSIGN control ............18 Grouping ..... See VCA Grouping or Links Groups, Audio ACCESS CHANNEL/ASSIGN control panel ..........................................18 assigning to fader strips................192 DSP configuration ........................174 464/ 464/ 474

V1.8/0

main fader strip control ............... 219 signal processing ......................... 163 tutorial .......................................... 50 Groups, VCA ........... See VCA Grouping GTE LED ......................................... 148 GUI ................................................ 437 System Hardware componentsSee Components HD Core redundant DSP............................ 177 redundant router......................... 417 systems overview ........................ 415 Headroom ...................................... 425 Headroom - System Display ............ 427 Height control - panning................. 107 High Pass Filter ...................... See Filters H-L control ..................................... 107 Hold Time Expander..................................... 102 Gate............................................ 101 Limiter......................................... 104 How to... AFL or PFL a channel..................... 40 apply signal processing.................. 64 assign a channel onto a bus output 38 assign channels to fader strips ....... 34 assign fader strip free controls ....... 72 change the channel in access......... 17 configure audio sub group masters 50 control microphone pre-amplifier settings...................................... 43 create a mix minus ........................ 58 create stereo channels or masters .. 54 enter names using the keyboard.... 25 interrogate the channel fader strips 30 load a setup production................. 28 monitor audio on the main speakers ................................................. 39 route a source to a channel ........... 36 route masters to output destinations ................................................. 55 route sources to multiple channels. 41 save your settings.......................... 44 switch between banks and layers... 31 use auxiliary sends......................... 57 use the console's rotary encoders .. 64 use the SCREEN CONTROL panel . 20

mc²66

Index Directory INSERT SEND button ...................... 227 Inserting channels in-between fader strips ........................................... 195 Internal data card............................ 267 Internal Sample Rate....................... 416 Internal Sync Alarm - System Display ................................................... 440 ISO AFL2/PFL2 - System Display .... 424 ISO Bay Access ............................... 186 ISO button fader bay isolate.................. 142, 184 Isolate - System Display .................. 419 Isolating fader bays......................... 184 Isolating fader strips from banking/layering ......................... 182 Isolating fader strips from snapshot recall ........................................... 256 Isolating settings from Snapshots .... 257 Isolating signal routing from snapshot recall ........................................... 256 Join................................................. 358 Joystick Notch and Brake Resistance System Display ............................ 444 Joystick Panning ............................. 108 KEY button ............................. 123, 124 Key mode - System Display............. 432 Keyboard operation of .................................. 25 Knee - Compressor ......................... 103 Knee - Limiter ................................. 104 L mute............................................ 211 L/R control ..................................... 106 L>B button ............................... 92, 128 LAHD ................. See Look Ahead Delay Last Snap - Snapshots display.......... 254 Layers ................... See Banks and Layers LCR button ..................................... 107 LED status indicators....................... 148 LEFT button ...................................... 19 Left/Centre/Right panning.............. 107 Left/Right panning ......................... 106 Left/Right reverse button.......... 92, 128 Level - Signal Settings display.......... 407 Level Options - System Display ....... 425 LFE control...................................... 106 LFE mute ........................................ 211 LIM button ............................. 103, 104 Limiter

use the trackball and navigation buttons.......................................23 use VCA grouping..........................62 IDP button.......................................122 IMAGE ..............................93, 128, 129 Image control image position .............................129 image width.................................129 new and old styles .......................129 signal processing order.................163 IMAGE graph – Main display ...........129 IMAGE panel ...................................126 Importing Files.................................266 INC/Right button ..............................23 Independent AFL and PFL................185 INFO window – Channel display......226 Inheriting source labels ....................231 In-Line Console Configuration .202, 203 INP - Signal Settings Display ............410 INP button – METER PICK UP..........160 Input B button ...........................92, 133 INPUT button ....................................80 INPUT button – ACCESS CHANNEL/ASSIGN control ............18 Input channels ACCESS CHANNEL/ASSIGN control panel ..........................................18 assigning to fader strips................192 DSP configuration ........................174 signal processing ..........................163 Input Gain channel signal flow ......................163 digital sources ........................92, 133 line level analogue sources .....90, 132 microphone preamplifier sources ...43, 91, 132 INPUT MIXER............................90, 128 Input routing ........... See Source Routing Inputs.......................See Input channels INS button.........................................95 INS MOVE button ...................195, 196 Insert Central Control Section ..................95 controlling send levels from faders227 send and return switching ..............95 send level.......................................95 signal processing order.................163 tutorial ...........................................69 mc²66

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Index Directory 2nd button...................................104 Attack Time .................................104 dynamics processing ....................104 Hold Time ....................................104 Knee ............................................104 LIM button ..................................104 Look Ahead Delay........................104 ON button ...................................104 output gain ..................................104 Release Time................................104 signal processing order.................163 Threshold Level............................104 LIMITER graph – Main display .........100 LINE button .........................90, 91, 132 Line level input control ... See Input Gain Line Up Level - System Display ........430 LINK................................................224 Links clearing links ................................225 fader status indicator....................225 linking fader strips........................224 module link status indicator..........225 LISTEN buttons................................123 Listen Latch Mode - System Display.423 LNK LED..................................148, 225 LOAD soft key.................255, 263, 369 Loading a Snapshot .........................255 LOC soft key ...................................404 Locating a source or destination.......404 LOCK ACC button.............................89 LOCK ASN button ...........................200 Locking the ACCESS CHANNEL/ASSIGN control panel..................................89 Locking the BUS and STRIP ASSIGNMENT Panels ...................200 Look Ahead Delay Compressor..................................103 Expander......................................102 Gate ............................................101 Limiter .........................................104 Loudspeakers................. See Monitoring LtoB button .............................210, 213 M button.................................209, 213 M/S button .....................................128 M/S decoding..................................128 Machine Control Panel ....................320 MAIN 2ND button...........................180 Main Display .....................................88 466/ 466/ 474

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MAIN FADER button– ACCESS CHANNEL/ASSIGN control............ 18 Main Fader Strips a tour of...................................... 216 Banking and layering................... 217 creating group and sum masters.. 219 VCA group masters ..................... 220 MAIN ISO button ........................... 182 Main mix ................................ See Sums Main mix outputs ................... See Sums Main monitoring............ See Monitoring Main output ........................... See Sums Master faders....... See Main Fader Strips MATRIX button ................................ 21 Max Sample Rate - System Display . 438 Memo - Snapshots display .............. 254 METER button .................................. 21 Metering Channel Config display ....... 163, 168 channel direct output .................. 160 Channel display........................... 158 channel input .............................. 160 fader meter ......................... 148, 158 Main display................................ 158 meter pick up points.................... 160 monitor channels......................... 160 post fader.................................... 160 pre-fader..................................... 160 Metering Display ............................ 159 Metering Options - System Display. 429 meters (m). ....................................... 94 Mic/Line input control .... See Input Gain Microphone Preamplifier Settings..... See Input Gain MIDI Fader strip control of MIDI parameters .............................. 201 Midnight ........................................ 380 milliseconds (ms)............................... 94 Mini speakers................. See Monitoring MIX button..................................... 122 Mix Minus AFL or PFL .................................. 117 CONF button .............................. 118 Conference (Pre-Talk) sends........ 118 configuring mix minus sends ....... 115 controlling output levels .............. 117 CORD button.............................. 117 mc²66

Index Directory MONITORING 2 ............................ 213 Monitors.............. See Monitor channels MONO button ......................... 92, 128 MOVE soft key ....................... 296, 310 MULITPLE MODE buttons .............. 197 Multichannel operation..... See Surround Multi-channel panning........See Panning Multiple user operation................... 184 Multitrack Recording ...................... 202 Mute - System Display option ......... 419 MUTE button Central Control Section ............... 110 fader mute or channel mute options ....................................... 110, 147 fader strip control........................ 147 N-1.................................See Mix Minus Names and Labels channel labels.............................. 395 fader scribble strip labels.............. 146 inheriting source labels ........ 231, 396 programming user labels ............. 397 saving user labels ........................ 397 source labels................................ 395 system names.............................. 395 viewing names and labels on the Channel Display......................... 75 Navigation buttons ........................... 23 Netlink............................................ 399 Network drive................................. 267 Networking I/O Resources.............. 399 NEW soft key.......................... 250, 287 create a new mix......................... 323 NEXT button............................. 19, 299 NEXT CHANGE............................... 353 NEXT soft key ..................299, 304, 309 N-many ..........................See Mix Minus NORDIC PPM - meter scale ............ 429 NTCH soft key fader notch ................................. 442 joystick notch .............................. 444 Numeric keypad................................ 18 OFF button..................................... 213 OFFL control................................... 120 Offset Timecode ............................. 380 ONE button Parameter Assign ........................ 137 Parameter Copy .......................... 150 Parameter Reset .......................... 156

metering ......................................117 N-1 sends ....................................117 N-many sends..............................117 overview ......................................114 tutorial ...........................................58 Mixes Display ..................................322 Mix-minus – Main display................116 MLT button Parameter Assign .........................138 Parameter Copy ...........................154 Parameter Reset...........................156 MODE button ...................................94 MODL LINK button.........................224 MON button – BUS ASSIGN ..............80 MON button– ACCESS CHANNEL/ASSIGN control ............18 Monitor channels ACCESS CHANNEL/ASSIGN control panel ..........................................18 assigning to fader strips................192 auxes 17 to 32 (cue feeds) ...........204 configuring for multitrack recording ................................................202 direct output/track send...............204 DSP configuration ........................174 send and return switching122, 143, 203 signal processing ..........................163 Monitoring AFL and PFL monitoring...............214 alternate speaker switching ..........212 CRM 1 monitor controls...............206 external source selection ......208, 213 left/right balance .........................210 left/right phase reverse ................210 left/right to both..................210, 213 LISTEN buttons ............................123 monitor 2 level control .................213 monitor 2 mute............................213 monitor DIM................................208 monitor level................................208 mono compatibility checking 209, 213 options for mains and minis..........206 secondary (CRM 2) monitor control ................................................213 speaker mute buttons ..................211 speaker solo buttons ....................211 trim speaker levels........................212 mc²66

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Index Directory ONLV control ..................................120 Operation Range - System Display...430 Oscillator ................ See Tone Generator OTME control..................................120 OUT IF CROSS ................................353 Output follows Input SR ..................410 Output Sample Rate Selection .........409 Overdub recording ..........................204 Overload Threshold - System Display ....................................................428 OVR LED.........................................148 P - Productions display ....................246 P - Snapshots display ...............254, 265 PAD ..........................................91, 132 PAGE button .....................................24 Panning 2nd button...................................106 Central Control Section ................106 centre channel control..................107 FLAT button.................................107 from stereo channels....................130 Front/Back panning .....................106 High-Low control.........................107 joystick control.............................108 LCR button ..................................107 Left/Right panning control ...........106 LFE (Low Frequency Effect) ..........106 ON button ...................................106 on/off fader strip control..............142 Slope control................................107 surround formats .........................106 PANNING graph – Main display......106, 108 PARAMETER COPY/ASSIGN channel copy................................150 channel reset................................156 free control assignment ................137 Pass Tree display..............................327 Peak Hold Colour - System Display ..431 Peak Hold Mode - System Display ...431 Peak Hold Time - System Display.....431 PEQ button .............................111, 204 PERM ISO button ............................182 PF button ................................111, 204 PF button – METER PICK UP ...........160 PFL monitoring access PFL....................................434 clear PFL ..............................215, 435 468/ 468/ 474

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monitoring options...................... 214 PFL add....................................... 434 PFL button .......................... 110, 147 PFL Fader mode .......................... 434 System Display options................ 434 tutorial .......................................... 40 PFL Overpress................................. 443 PFL2 ............................................... 185 PH L button .................................... 210 PH R button.................................... 210 phantom centre - panning .............. 107 Phantom power ........................ 91, 132 Phase reverse button ................ 92, 128 pink noise ....................................... 412 Play Pass......................................... 328 Play Safe......................................... 363 Powering on the Console.................. 27 PPM - metering .............................. 429 Pre-Talk aux sends.......................... 118 PREV button ..................................... 19 PROD FILE button ............................ 21 Production Soft Keys SND, RET and REC ...................... 143 Productions backup productions..................... 247 deleting....................................... 245 load ............................................ 238 new production........................... 243 Overview .................................... 232 protecting a production ............... 246 reminder ..................................... 241 renaming..................................... 240 Sample Rate – 48kHz, 96kHz ...... 416 saving a new production ............. 239 updating a production................. 241 what’s stored in a production ...... 234 Productions Display ........................ 236 Programme output ................. See Sums PROT protect a production.................... 246 PROT soft key ................................ 265 Protecting a Mix ............................. 372 Protecting a Production .................. 246 Protecting a Snapshot ..................... 265 Protecting fader strip settings from snapshot recall ............................ 256 Protecting fader strips from banking/layering ......................... 182 mc²66

Index Directory adjusting controls .......................... 87 fine and coarse adjustment............ 87 Router Level Control....................... 407 Router Redundancy ........................ 417 Routing Bus Routing......... See Bus Assignment Channel Routing ..See Source Routing Input routing......... See Signal Routing Output routing...... See Signal Routing RTME control.................................. 120 RtoB button ............................ 210, 213 RUBB soft key fader resistance ........................... 442 joystick resistance........................ 444 S1L mute ........................................ 211 S1R mute........................................ 211 S2L mute ........................................ 211 S2R mute........................................ 211 Safe Area - System Display.............. 430 Sample Rate - internal..................... 416 Sample Rate - System Display ......... 438 Sample Rate Conversion ................. 408 SAVE soft key ..................258, 293, 310 Saving a Snapshot........................... 258 Scale mode - System Display........... 429 SCF – sidechain filters ..................... 105 SCF button ..................................... 105 SCF graph – Main display ......... 98, 105 SCF/FILTER/EQUALIZER ............ 66, 97 SCREEN CONTROL .......................... 20 Screen displays black and white (focus) outline...... 22 Bus Assign Display......................... 84 Channel Config Display............... 165 Channel Display ............................ 74 common elements......................... 20 DSP Config Display ..................... 173 Edit Sequence Display ................. 305 File Display.................................. 266 Main Display ................................. 88 Metering Display......................... 159 Mixes Display.............................. 322 Productions Display..................... 236 Sequence Display ........................ 284 Signal Settings Display................. 403 Signals Display ............................ 386 Snapshots Display ....................... 253 States Display.............................. 447

Protecting signal routing from snapshot recall ............................................256 Protecting the channel in access....... See Locking the ACCESS CHANNEL/ASSIGN control panel Punch In/Punch Out........................360 R mute ............................................211 R/W button.....................149, 326, 334 R>B button................................92, 128 Ratio Compressor..................................103 Expander......................................102 RATIO/HOLD control..............101, 102 RATIO/HOLD/KNEE control....103, 104 Re-assigning bus masters ...................83 RebootSee System Shutdown and Restart REC button..............................122, 226 Record arming .................................143 Record Pass .....................................328 Recording ........................................202 Recovering from Software Errors......451 Reduced processing channels...164, 174 Redundant DSP ...............................177 Reference Level - System Display.....427 Reference Levels..............................425 Release Time Compressor..................................103 Expander......................................102 Gate ............................................101 Limiter .........................................104 Release Version - System Display .....421 RELOAD button ..............................303 Reminder to update production .......241 Remote microphone preamplifier settings ..................................91, 132 Renaming a Snapshot ......................259 Reset ...............................................232 RESET button...................................156 Resetting channel parameters ..........156 RestartSee System Shutdown and Restart RET button ..............................122, 143 RET button – METER PICK UP .........160 Return Mode - System Display.........439 Reverse Bus Assignment ....................79 RIGHT button....................................19 Rotary controls mc²66

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Index Directory System Display.............................418 Screen Displays Pass Tree......................................327 SDDS................................ See Surround SEL ALL button - Central Control Section channel copy................................153 channel reset................................156 SEL ARM button..............................365 SEL AUTO button............................324 SEL buttons - Central Control Section AFL individual processing sections 124 automation modes .......................338 channel copy................................152 channel reset................................156 SEL buttons - Fader strip ..................145 SEL DYN button ..............................345 SEL ISO button ................................183 SEL XFADE button ...........................314 Select Isolate - System Display .........423 Selected Configuration - DSP Config174 Selection Mode box.........................304 Sends auxiliary .......................................111 cue feeds .....................................204 direct output ..................................96 insert..............................................95 mix minus (n-1) ...........................114 SEQ ON button ...............................299 Sequences active sequence............................289 adding snapshots .........................306 Back snapshot ..............................284 changing the order.......................296 changing to a different sequence .286 creating a new folder ...................250 creating a new sequence ..............287 Cross Fading Snapshots................311 Current snapshot .........................284 deleting a folder...........................252 deleting a sequence .....................288 deleting snapshots .......................308 duplicating snapshots ...................307 Edit Sequence Display ..................305 folders..........................................249 loading the back snapshot............301 loading the current snapshot ........303 loading the next snapshot ............299 470/ 470/ 474

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memo information ...................... 295 naming snapshots ....................... 294 navigating to the active sequence 290 Next snapshot ............................. 284 overview ..................................... 282 play out....................................... 298 renaming a folder........................ 251 renaming a sequence .................. 287 resetting the sequence ................ 302 running a sequence ..................... 298 saving snapshots ......................... 292 selecting a folder ......................... 285 Sequence Display ........................ 284 skipping a snapshot..................... 303 the Selection Mode box............... 304 updating snapshots ..................... 297 SET button monitor parameters............. 209, 210 SET soft key .................................... 289 SETN soft key ................................. 302 Setup Productions............................. 28 SHAR soft key................................. 401 Sharing I/O Resources .................... 399 ShutdownSee System Shutdown and Restart Sidechain – filtering the dynamics ... 105 Sidechain Filters Central Control Section ................. 97 SIGNAL button ................................. 21 Signal Flow changing signal processing order . 165 changing your DSP configuration 175 concepts...................................... 162 DSP configurations...................... 173 fully featured DSP channels . 163, 174 saving your DSP configuration..... 176 Tiny DSP channels............... 164, 174 tutorial .......................................... 11 Signal Processing Order .................. 165 Signal Routing Directories................................... 386 isolating from snapshot reset ....... 405 names and labels......................... 395 overview ..................................... 385 reverse interrogation of routing ... 404 Subdirectories.............................. 386 tutorial .......................................... 13 Signal Settings mc²66

Index Directory SND button ............................ 122, 143 SND button – METER PICK UP ....... 160 SNS button ..................................... 124 Soft keys – SCREEN CONTROL......... 24 Software Errors ............................... 451 Software Version - System Display .. 421 Solo Button Options - System Display ................................................... 432 Solo-in-Place clear SIP ...................................... 436 SIP mode..................................... 436 using SIP ..................................... 436 Source Priority - System Display ...... 439 Source Routing A/B input sources........................ 390 disconnected signals.................... 398 routing to a single channel .......... 388 routing to multiple channels ........ 391 Signals display ............................. 388 tutorial .......................................... 36 Speakers ........................ See Monitoring SRC ........... See Sample Rate Conversion SRC - Signal Settings display408, 409, 455 START soft key X-Fade parameters ...................... 446 START WRITE................................. 355 States Display ................................. 447 Status indicators.............................. 148 STE button...................................... 126 STE LED.................................. 126, 148 STEP OUT....................................... 350 STER soft key.......................... 393, 394 Stereo Auxiliary Sends..................... 113 Stereo channels changing from mono to stereo ... 126, 393 DSP Configuration ...................... 174 image control .............................. 129 image position............................. 129 image width ................................ 129 input balance .............................. 128 Left to Both................................. 128 left/right reverse ......................... 128 M/S decoding ............................. 128 mono button............................... 128 panning....................................... 130 phase reverse .............................. 128

dither ...........................................411 I/O DSP .......................................406 input sample rate conversion........408 output sample rate selection.........409 overview ......................................385 router level control.......................407 setting the wordlength for a digital output ......................................411 Signal Settings display ..................403 tone generator .............................412 Signal Settings Display .....................403 Signals Display I prefix .........................................400 overview ......................................386 S prefix ........................................400 source routing..............................388 stereo channels ............................393 stereo sources ..............................394 sine wave ........................................412 SIP.............................. See Solo-in-Place SKIP button .....................................303 SKIP soft key ...................................303 SLOPE control .................................107 SMPL – sample accurate metering ...429 SNAP ISO - System Display option...419 SNAP LOAD button.........................303 SNAP/SEQUENCE button ..................21 SNAPSHOT/SEQUENCE ..................299 Snapshots backup snapshots.........................262 creating a new folder ...................250 deleting a folder...........................252 deleting a snapshot ......................264 filtering a snapshot recall..............257 folders..........................................249 isolating fader strips .....................256 isolating signal routing .................256 loading a snapshot .......................255 memo information .......................260 overview ......................................232 protecting a snapshot...................265 renaming a folder.........................251 renaming a snapshot....................259 saving a snapshot.........................258 tutorial ...........................................44 updating a snapshot.....................261 what's stored in a snapshot ..........235 Snapshots Display............................253 mc²66

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Index Directory Right to Both ...............................128 STE LED .......................................126 the Signals display........................393 tutorial ...........................................54 Stereo image control.. See Image control Stereo panning ................... See Panning STOP WRITE ...................................355 STRIP ASSIGNMENT........................192 STRIP ASSIGNMENT – locking access ....................................................200 STRIP button– ACCESS CHANNEL/ASSIGN control ............18 STRIP CONTROL.............................230 STRP 2ND button ............................180 STRP button– Parameter Copy.........153 STY button ......................................129 STYLE– Main display........................129 Subsonic Filter ....................... See Filters Subsonic filter button...........90, 91, 132 Subwoofer control ...........................106 SUM BUS button ...............................78 SUM button– ACCESS CHANNEL/ASSIGN control ............18 Sums ACCESS CHANNEL/ASSIGN control panel ..........................................18 assigning to fader strips................192 DSP configuration ........................174 main mix outputs ...........................11 signal processing ..........................163 using main fader strips as sum masters.....................................219 SURR button ...................................226 SURR soft key..................................170 Surround bus assignments.............................82 configuring surround inputs .........171 configuring surround outputs .......169 surround mode - System Display ..420 Surround busses - DSP configuration174 Surround formats.............106, 454, 455 Surround Monitoring ..... See Monitoring Surround panning............... See Panning Switching on the Power.....................27 SYSC - Signal Settings Display..........410 System Clock ...................................416 System components.........................415 System diagnostics...........................447 472/ 472/ 474

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System Display AFL monitoring options............... 433 bargraph options......................... 429 console options ........................... 422 Custom options........................... 437 Fader/Joystick options................. 442 global options ............................. 419 GUI options................................. 437 level options................................ 425 overview ..................................... 418 PFL monitoring options ............... 434 solo button options ..................... 432 solo-in-place options ................... 436 Timecode/Frame Rate options..... 441 Wordclock options ...................... 438 X-Fade options............................ 446 System Errors .................................. 448 system log files ............................... 266 System Names .... See Names and Labels System Shutdown and Restart......... 449 SYSTEM/STATES button ................... 21 TALK button ................................... 122 Talkback to mix minus sends........... 114 Threshold Level Compressor................................. 103 Expander..................................... 102 Gate............................................ 101 Limiter......................................... 104 THRS/LAHD control 101, 102, 103, 104 Time Display - System Display......... 437 Time- Snapshots display.................. 254 timecode ........................................ 321 Timecode........................................ 441 Timecode Automation .. See Automation Timecode Format - System Display . 441 Timecode Source - System Display .. 441 Tiny channels.......................... 164, 174 Tone Generator .............................. 412 Track arming................................... 143 TRACK BUS button........................... 78 Track busses ACCESS CHANNEL/ASSIGN control panel ......................................... 18 and monitor channels............ 78, 202 routing to...................................... 78 Track Self Assign - System Display option ......................................... 420

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Index Directory VCA Grouping assigning fader strips ................... 221 group assignment display ............ 149 main fader strips.......................... 220 tutorial .......................................... 62 VIEW FC......................................... 230 VU - metering................................. 429 Warm start ..................................... 449 Warm Start Data............................. 449 white noise ..................................... 412 Word Length .................................. 411 Wordclock sync .............................. 416 Write protecting a Production ......... 246 Write protecting a Snapshot............ 265 WRITE R/W button ........................ 334 X axis - Main display....................... 106 X button ......................................... 109 XFADE ON button .......................... 316 X-Fading Snapshots ........................ 311 X-Z button...................................... 108 Y axis - Main display....................... 106 Y/Z button...................................... 109 Z axis - Main display ....................... 107 zipped files...................................... 268

TRACK SWITCH – Channel Config display .........................................163 Trackball............................................23 Trackball buttons ...............................23 TRK button– ACCESS CHANNEL/ASSIGN control ............18 Truncate ..........................................411 Turning on the console ......................27 UK PPM - meter scale......................429 Up arrow button................................23 Updating an Existing Snapshot.........261 UPDT update a snapshot from a sequence ................................................297 UPDT soft key .................261, 297, 310 Upgrading Your DSP configuration ..177 USB device ......................................267 USE SNS button.......................226, 230 USE TYPE button .............................228 User Labels ......... See Names and Labels User Panel .......................................226 VCA .........................See VCA Grouping VCA button – group assign........78, 221 VCA button– ACCESS CHANNEL/ASSIGN control ............18

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Lawo AG Rastatt/Germany Tel. +49 222 1002-0 www.lawo.de

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