System 5 Digital Audio System User Guide
Legal Notices This guide is copyrighted ©2011 by Avid Technology, Inc., with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid.
Contents Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 System 5 Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 System 5 Startup Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 6. Channels and Strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Channel Control Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 12. Dynamic Automation (S5P Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Automation Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Automation Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
vi System 5 Digital Audio Mixing System User Guide
Part I: Introduction to System 5
Chapter 1: Introduction Welcome to the System 5, a highly advanced digital audio mixing system. System 5’s modular control surface can be easily configured to handle large projects with many digital and analog sources. The System 5 is the perfect choice for serious audio production facilities that need a powerful, easy-to-use digital mixing system that supports all common surround formats.
System 5 hardware diagram 4 System 5 Digital Audio Mixing System User Guide
System 5 Startup Sequence With all system components turned off: 1 Turn on the Ethernet switch and allow it to complete its startup diagnostics. 2 Turn on the SC264 System Computer. 3 Turn on all I/O units. 4 On the SC264, double-click the eMix icon on the desktop. 5 Turn on all of Surface Modules, the CO600 Changeover Switch (if present), and the DF66(s) or DF70. If system modules have been saved as default, eMix continues to boot when all modules reach 100%.
About This Guide This guide provides a basic overview of System 5 features and functionality. For complete instructions on connecting and configuring your system, see the System 5 Installation Guide.
Chapter 2: Quickstart to Common Tasks In this chapter, you will learn how to route and patch devices using two simple examples: • Connect and play a CD • Connect and monitor a microphone Connect and Play a CD Connecting and playing a CD illustrates System 5’s basic configuration, routing, and monitoring principles: • Set up eMix • Assign the CD channels to the console • Patch the CD player • Route the CD channels to the mix bus To set up eMix: 1 Select Drives at the bottom of the eMix screen and choose a
To patch the CD Player: 1 Select PatchNet at the bottom of the eMix screen and select Console I/O. 2 Select A and B Inputs. 3 Select the blue selection box for the A Input of channels 1 and 2. The patch points show up in Selected - Destinations. 4 Connect the CD’s digital output (AES or SDIF) to channels 1 and 2 on the DM714. The DM714 should already be connected to DF66 1-1. 5 Select Sources, then select Frame 1-1 from the left side of the screen.
To route to the mix bus: 1 Press the Channel On switches for each CD channel. 2 Select the Mix button on channels 1 and 2. 3 Select the In key of the B Mix Bus, which defaults to two-channel stereo. 4 Press the Master Section’s CR Source key. The Mix Busses display in the Panel Viewer. 5 Select the B Source. 6 Move channel 1 and 2 faders up. 7 Press both channel’s Pan buttons and set to L and R, respectively. 8 Press the Master Section’s CR Output key. The output formats display in the Panel Viewer.
To assign the mic channel to the console: 1 Select Channels from the Main Panel Viewer. 2 Select Auto then Channel 3. 3 Press a Strip’s Chan Sel key. 4 Press the Strip’s Inpt button, then turn the Inpt knob clockwise until the B input is selected. 5 Press the button to display the B input page on the knobset. 6 In PatchNet, select Console I/O. 7 Select the B Input of Channel 3. 8 Select Sources. 9 Select Mic-Line 1, Ch 1, and name the channel. 10 Click Patch.
Chapter 3: eMix Application The eMix application has the following tabs along the bottom of the window: Directory File management (see first section below) PatchNet Digital patchbay (see page 19) Busses Group and mix bus formats (see page 26) System System setup (see page 28) Folddown Folddown formats (see page 31) Masters Format master channels and externals (see Chapter 9, “Control Groups and Multi Format Masters”) Conform Entering conform information for automation system (see “Automation C
To open a Project: 1 Click the Drives tab to see a list of available Drives. 2 Select the desired Drive and click the Projects tab or double-click the Drive. The Projects Window appears with a list of Projects on that Drive. To create a new Project: 1 Click the New button on the right side of the Projects window. – or – Double-click an existing Project. – or – Select an existing Project and click the Projects tab. 2 Name the new Project in the dialog that appears.
To copy and paste a Project: 1 Select a Project from the Projects Window. 2 Click the Copy button to copy the selected Project. The Paste button remains dim until the Copy button is used. 3 Click the Paste button to paste the copied Project. You can navigate the Directory to another Drive before pasting. If the selected Project’s name is Test, the copied Project is Copy of Test. 4 Click the Rename button to rename the selected Project in the dialog that appears.
To create a new Title: 1 Click the Drives tab to see a list of available Drives. 2 Select the desired Drive and click the Projects tab. – or – Double-click the Drive. The Projects Window appears with a list of Projects on that Drive. 3 Select a Project and click the Titles tab. – or – Double-click the Project. The Titles Window appears with all Titles in that Project. 4 Click the New button on the right side of the Titles window. The New Title dialog appears.
4 To open a Mix other than the last one used, double-click the Title. – or – Click the Mixes tab. The Mixes Window displays existing Mixes. See page 16 to see how to open a Mix. 5 Select the Title and click Open. This opens the Title with the last Mix used. Mixes A Project and Title must exist before selecting, opening, or creating a new Mix. The Rename, Copy, Paste, and Delete buttons work the same on Mixes as described on page 12 for Projects.
To open an existing Mix: 1 Click the Drives tab to see a list of available Drives. 2 Select the desired Drive and click the Projects tab or double-click the Drive. The Projects Window appears with a list of Projects on that Drive. 3 Select a Project and click the Titles tab or double-click the Project. The Titles Window appears with all Titles in that Project. 4 To open the Title with the last Mix used, select the Title and click the Open button of the Titles Window.
Title Defaults This section describes how to set up basic PatchNet settings when a new Mixer Model is selected. This process includes naming the sources and destinations and connecting group bus outputs to multitrack inputs. The setup process is equivalent to setting and labeling the normalled connections on a conventional patch. A destination refers to an external device input, not the console. These settings are stored to the Title Defaults and are automatically included with each new Title.
Normalled Connections Inputs and outputs that require normalled connections must be designated in PatchNet and saved to the Title Defaults. In the figure below, the console Group Bus outputs 1–24 should be patched to the DAW inputs. The figure below shows the Nuendo inputs patched from the Group Bus outputs. If a Source is normalled to multiple destinations, appears in the cell next to the source. Destinations normalled Layouts The following table shows a typical Layout.
PatchNet PatchNet is System 5’s digital patching system that uses a MADI routing hub to connect sources to destinations. Simplified MADI routing diagram The following Avid devices provide a robust and complete I/O interface: • The DM714 (AES/EBU-to-MADI) and MD704 (MADI-to-AES/EBU) converters provide 26 channel inputs and outputs. • The AM713 (analog-to-MADI) and MA703 (MADI-to-analog) converters provide 26 fixed-gain channel inputs and outputs.
Console I/O To configure console I/O: 1 Click Console I/O on the upper-left of the PatchNet window. 2 Click A and B Inputs from the sub-categories below it. Connections to the channel’s A and B inputs are made here. 3 Click in a Name field and type a channel name. Console I/O A and B inputs Window The Selected: area shows the Sources and Destinations for the A Input and B Input cells selected above. The numbered tabs (1–48, etc.) display additional pages of patchpoints.
Cabling This category handles MADI cable connections for the ML530s. Mic-Line Interface Patching For mic inputs and analog inputs not at +4 dB, the Avid Modular I/O and the ML530 provide preamps with gain, phantom power, high-pass filter, and hiZ/loZ switching (ML530 only). The Modular I/O can provide up to 56 preamp channels per MADI port, while the ML530 provides 24 channels. The ML530 analog outputs are connected to an AM713 Analog-to-MADI converter which then connects to one of the MADI inputs.
Patching Example: 12 Mics Into Channels 25–36 To select the Sources: 1 Click on Sources from the four PatchNet categories. 2 Click on Mic-Line 1 from the sub-categories. This displays all inputs in the center of the window from the first Mic-Line Interface. The Mic-Line Interface is connected as part of the initial studio setup. Sources Window 3 Select Mic1-1–Mic1-12 from the Mic-Line column by clicking and dragging through the cells. These entries are highlighted in green in the figure above.
The entries are highlighted in green and the list of A input channels appear in the Destinations column in the Selected: area (see figure below). Setting Destinations 3 Click the Patch button to make the connection. The sources and destinations appear in the A Input and Name columns, respectively (see figure below). The sources and destinations are cleared from the Selected: area.
Patch the multitrack returns into channels 1–24: 1 Click on the Sources category. 2 Click on the Frame 1-3 sub-category. 3 Drag through the first 24 cells in the Frame1-3 column. These cells are highlighted and their names appear in the Sources column in the Selected: area. 4 Select the Console I/O category. 5 Select the A and B Inputs sub-category. 6 Drag through the first 24 cells in the A Input column. These cells are highlighted and their names appear in the Destinations column in the Selected: area.
Mix Bus Send/Return Click the Console I/O category, then click the Mix Busses sub-category. Each mix bus has a send and return. In the figure below, the first six sends (a 5.1-channel mix section) are routed to channels 41–46 A inputs. The insert is switched in/out from the Bus Masters Config Page (see “Bus Master Inserts” on page 97).
PatchNet Presets Patches can be stored in PatchNet presets. The presets can be recalled from PatchNet, the Patches menu on the CM401T, or from the Event system. Presets are not specific to the Title or Mixer Model and are stored in the C:\eMix\system\RoutePresets.dat file on the System Computer. Preset recall is recorded in eTracer (logging). • If one source and more than one destination is selected, the preset is stored as a mult.
The letters at the far left of the Mix Bus Window denote the 16 mix sections. The letters “I” and “L” are omitted to avoid confusion with one another. Click the cell to the right of the letter to name the section. The number of busses available is indicated by the blue area (i.e., there are 32 busses). The gray area represents busses that are not available due to the present system configuration.
System System 5 can be customized for each application. The number of channels, busses, and external inputs available depends on the Mixer Model and amount of processing in the DF66 (or DF70 Super Core, if used instead). Given a number of processing cards, several different Mixer Models can be configured, each with different numbers of channels, mix and group busses, and aux sends. Mixer models are enabled in MM Pass, which is installed on the desktop with the eMix application installer.
To change the mixer model: 1 Click the System tab at the bottom of the eMix Window. 2 From the list on the left of the System window, select the desired Mixer Model. The name of the Mixer Model describes the sample rate, number of channels, and bus architecture. The central part of the window displays the hardware configuration required to run the Mixer Model selected. 3 If your system has the required hardware and this is the proper configuration, click Activate Mixer Model.
10 Select the new sample rate and click the Apply button to affect the change. 11 Click OK to close the dialog. 12 Power off the control surface and DF66(s) and reboot. To change to a Mixer Model not displayed in the eMix System Window, exit eMix and run the MMPass application (accessible from the Desktop). From the MMPass program, you can enable a Mixer Model so it shows up in the eMix System Window. You can also activate a Mixer Model so it becomes the active Mixer Model when eMix relaunches.
Folddown Click the Folddown tab at the bottom of the eMix window to display the Folddown window (see figure below). Folddown supports rules by which one monitor output format (Format In along the left) is played by a different format (Format Out on top). For example, to play a 5.1-channel mix in LCRS, the Boom channel could be attenuated 6 dB and mapped to all channels, and the Sl and Sr mapped to the S channel without attenuation.
Folddown window with additional formats 32 System 5 Digital Audio Mixing System User Guide
Diagnostics When a system error occurs and the Diagnostics page is not displayed, the Wave logo and top-screen border flashes. Click the Wave logo at the bottom left corner of the main eMix screen to display the Diagnostics page. If a control module shows an error condition: 1 Press its Reset button. A dialog box appears requesting that you resynchronize the system. Diagnostics window 2 Click Yes and the system will function normally again. Ctrl+Alt+F12 disables the diagnostics system warning.
System 5 Wave Logo Click on the System 5 Wave logo in the bottom right of the eMix screen to display software version information and shutdown options. Auto Failover When Auto Failover is checked (enabled), and an actual or potential failure of the primary DF66 is detected by the diagnostics system, it switches the entire input audio path over to the backup DF66. Clicking on the Restore to Primary DSP button switches the entire audio path back to the primary DF66.
Console Operation Logging The System Computer uses the eTracer application to view console information. Log files contain time-stamped descriptions of events pertaining to the console’s software operations, including snapshot and layout recalls. These files are stored in the C:\eMix\log folder. A new file is created when the current file exceeds 2 MB. Log information can be filtered to display information for selected modules, message types, and components (see figure below).
36 System 5 Digital Audio Mixing System User Guide
Part II: Master Facilities and Channel Strip
Chapter 4: CM401T Master Section The CM401T Master Module controls master functions for Monitors, Communications, Solo, and Meters.
Monitoring The System 5 monitor system accommodates multiformat outputs up to 7.1 channels. There are seven monitor outputs (see figure below): • Main Control Room and Mon A (7.1 max) • Alt 1 (5.1 max) • Alt 2, Mon B, C, and D route two busses (stereo) Mon A, B, C, and D are used for SLS/Cue feeds. Externals Mix Stems Stem Aux Snd s Main 8 Out (max 7.1) Stem Rtn Al t 1 6 Out (Max 5.1) CR Monitors 8 Out (max 7.1) Al t 2 Stereo Mon A 8 Out (max 7.
Monitor Source Selection The sources for Mon A–D and Control Room outputs are selected using the Panel Viewer. Press the Mon A–D or CR Source buttons to display available sources (figure below shows the MonD Source Panel). Monitor Controls and MonD Source Panel Use the keys on the bottom of the Panel to select the source type: External (CD, VTR, etc.), Aux Sends, or Mix Sections. The current source type key lights and available sources within that type appear in the Panel.
Mix Section and Aux Send Format Each Mix section also has a return that supports Bus/Tape monitoring. The returns can be patched from the record machine’s outputs using PatchNet (see “Mix Bus Send/Return” on page 25). It is not possible to select a Mix section and its return at the same time because they intercancel, even in Summing mode. Aux Sends appear in the Panel as mono or stereo pairs.
Cut Individual CR Speakers The Control Room speakers can be individually switched on and off. The L, C, R, Sl, Sr, Bm, X and Y keys in the Control Room Output Panel are lit when on. In addition, the LEDs above the CR Source LCD light to show active speakers. Mon Lock The Mon Lock key on the Bus Master Strip disables the Control Room and Monitor levels. Dim and Cut always remain active.
Fixed Level Function The Mon Cal mode can be enabled by pressing the top left button on the CR Output panel so it lights. This turns off the CR Output Control’s Monitor knob indicators, showing that the knob no longer functions as a control. The Monitor level is set to the Cal Level discussed above and is displayed in dBSPL. This value persists when rebooting the console and/or loading a new Title. Dim and Cut operate normally. SLS/Cue Monitor Outputs Mon A–D are usually used for SLS and Cue feeds.
Talkback Press the Talk key at the bottom of the Comms:Talkback Panel to display the Comms:Talkback Panel. Comms:Talkback Panels Monitors Tbk1 and Tbk2 (if Tbk2 On is lit) can be routed to Mon A–D by pressing the Tbk>MonX keys on the left of the Comms:Talkback Panel. These keys are momentary unless Tbk Ltch is active, in which case they are toggled on/off each key press. More than one monitor can be active by pressing multiple keys and all can be active by pressing the Tbk>Mons key.
Listenback Press the Lsn key at the bottom of the Comms:Talkback Panel to display the Comms:Listenback Panel. Comms:Listenback Panel The listen mics can feed any combination of the CR Main, Alt1, Alt2, or Mon A–D speakers by activating their keys on the top half of the Panel. Activate Lsn>Flw to route the listen mics to the active CR Speaker. Activate the DimCR key to dim the CR Speaker by the level set for the DIM key when the listen mics are on (see “Dim and Cut” on page 42).
Oscillator/Slate Oscillator Press the OscSlt key at the bottom of the Comms:Talkback Panel to display the Comms:Slate/Osc Panel (see figure below). Turn the oscillator on by activating the Osc>On key. Select the oscillator type by pressing the Osc>Sine, Osc>White, or Osc>Pink keys on the top right of the Panel. These keys intercancel so only one type can be selected at a time. Select the oscillator frequency by pressing the Osc>100Hz, Osc>440Hz, Osc>1kHz, or Osc>10kHz keys on the left of the Panel.
Quick Access Communications Panels The Quick Access Panel, located below the CR Level area, accesses the most commonly used Communications parameters without using the Panel Viewer. Use the buttons above the panel to display Quick Access Panels for general Communications, Talkback, Listen, and Slate/Osc.
Solo System 5 has an extensive solo control system that is accessed from the center section. Press the Master Solo section’s Solo Ctrl switch to display the Solo Panel. Master solo controls (left) and Solo panel (right) Solo Mode Three Solo modes can be selected by pressing their respective switches in the Solo Panel. Selecting one mode automatically deselects the previous mode.
Intercancel, Momentary, and Sum The Solo keys on the Strips sum by default: the Sum key in the Solo Panel is illuminated when first displayed. This means multiple channels can be soloed by pressing additional Solo keys; they must be explicitly cleared. There are two other options available in the Solo Panel that control the Solo key: • Momentary: The Solo key must be held down but multiple channels can be active at a time.
Meters The System 5 meters are displayed on the TFT screen at the top of each Strip. Each Strip’s meter can be independently set and can measure: • Channel: The fader, Swap, Main, or any channel, even one not assigned to that Strip can be metered. There is an option to display two meters that track different information. When displaying one meter, the dynamics gain reduction is shown to the right of the channel meter (see figure below). • Group, Mix, Aux: Any Group, Mix, or Aux Bus.
Meter Configuration Press the Cnfg key at the bottom of the Meter Presets Panel. The Meter Configuration Panel appears (right of figure above). By default, the Full key (bottom-left) is lit, which selects one large meter; the Channel key is also lit, which displays the Channel options along the right side of the Panel. The double arrows to the right of Channel mean that the right side displays Channel options. For example, press Group to display Grp 1, Grp 2, etc.
Master Section Meters The TFT screen above the center section shows two meters. The upper meter automatically shows the selected monitor output format. For example, if the Control Room monitors Mix Bus A and it is a 5.1-channel format, the meter automatically displays 5.1 channels. The lower meter automatically displays whatever is currently assigned to the Bus Master Strip: Aux, Mix, or Group Masters, Mon A, B, C, D, or Solo Master.
54 System 5 Digital Audio Mixing System User Guide
Chapter 5: CM402T Expanded Channel Module The CM402T module (see figure on next page) is located to the left of the CM401T Master Section that contains the Center Strip. The CM402T expands access to Strip functions, so they are more readily available than from their normal Strip. The CM402T includes the following functional sections, from top to bottom: • Bus Routing and Track Arming Panels See “Bus Routing Panel” on page 60 and “Track Arming” on page 106.
CM402T Expanded Channel Module 56 System 5 Digital Audio Mixing System User Guide
Channel Select Panel C1 C2 C3 C4 C5 C6 C7 C8 ON ON ON ON ON ON ON ON solo solo solo solo solo solo solo solo C9 C10 ON ON solo solo C17 C11 C12 C13 C14 C15 C16 ON ON ON ON ON ON solo solo solo solo solo solo C18 C19 C20 C21 C22 C23 C24 ON ON ON ON ON ON ON ON solo solo solo solo solo solo solo solo C25 C26 C27 C28 C29 C30 C31 C32 ON ON ON ON ON ON ON ON solo solo solo solo solo solo solo solo Number Group Master
Copy, Paste, and Clear To copy: 1 Select the channel to copy by pressing its Wave key. That channel is attentioned to the CM401T. 2 Press and hold the Copy key. The Copy key lights red. 3 Select the channel to copy again on the CM402T and release the Copy key. All other channels on the CM402T dim, and the Copy key flashes. 4 Select a function, multiple functions or the entire channel. To paste: 1 Press and hold the Paste key. 2 Select a function or channel to paste to.
Knobset Control Panel The Knobset Control Panel configures the knobs above the panel and which pages of Dynamics and EQ appear below it. The Input and Aux functions have configuration pages which can be accessed by pressing both cfg keys simultaneously (see “Channel Functions” on page 77 for details about configuration pages). The LCD in the center of the panel shows the current Center Strip channel.
Bus Routing Panel This panel shows the Group and Mix Bus routing for channels assigned to the Center Strip. The Rec Ready, Route Grp, Route Mix, and Route Section switches, on the bottom of the panel, determine what is displayed and controlled. These switches intercancel: only one can be lit and active at a time. The Pan To: GRP Busses and MIX Busses keys switch pan in/out for the Group and Mix Busses. The Reverse Route switch is not currently operational.
Chapter 6: Channels and Strips Strips A CM408T module contains eight identical Strips, each with independent Main and Swap channels. The Strip is the console’s physical control area that contains switches, knobs, displays, and a fader. The figure below shows a Strip, its displays that appear on the meter bridge above the channel, and block diagrams for the Swap and Main channels.
Swap Channel A Meter and Status Display B Channel Inputs Trim & Phase Input Select Any Order Function 2 of 7 8 1 Delay Function 2 of 7 Meter Function 3 of 7 Insert Function 4 of 7 EQ Function 5 of 7 Filters Function 6 of 7 DYN Key Link Function 7 of 7 Pre-Fader Output Fader & Mute Post-Fader Direct Output Aux Sends Grp Pan/Route System Buses Solo PFL/AFL Mix Pan/Route Main Channel A B Channel Inputs Trim & Phase Input Select Any Order Function 2 of 7 8 1 Delay Function 2 of 7
Map Channels, Control Groups, and Busses to Strips Each Strip can control a Main and Swap channel. One or both of the channels can be a Control Group or Bus instead of a normal channel. Channels can be assigned individually using the Strip controls or to multiple Strips using the Channel Assign Panel (page 64) or Bus Assign Panel (page 65).
Multiple Assignments: Channel Assign Panel The Channel Assign Panel is typically used to assign channels to multiple Strips: 1 Press the Main Panel key in the center section. 2 Press the Channels key. The Channel Assign Panel appears. 3 Press the Page keys to display additional channels.
Multiple Assignments: Bus Assign Panel The Bus Assign Panel is typically used to assign busses to multiple Strips but can also be used for a single assignment. 1 Press the Main Panel key in the center section. 2 Press the Busses key. The Bus Assign Panel appears. Bus Assign Panel 3 Press the Mix, Grp, or Aux keys to select the type of bus to assign. 4 In the Bus Assign Panel, press the key beside the bus to assign. In Mix Bus View, choose Mix sections or individual mix busses.
Shortcut Assignment for Multiple Channels To assign multiple, consecutive channels to the console surface: 1 Press the Main Panel key at the bottom of the Panel Viewer. 2 Press the Channels key in the Main Panel. The Channel Assign Panel appears. 3 Press the Auto key so it illuminates. 4 Press the key beside the channel to designate as the starting channel. 5 Position your finger over the Chan Select key for the first Strip (left-most) you would like to assign on the console.
Strip Utilities The Strip Config Panel contains useful utilities that make Strip operations more efficient: Strip Lock, Strip Expand, Strip Zone Select, Spill Select, Fader Unity, and Fader Meters.
Strip Expand Strip Expand expands the display and control of a single Strip over several Strips, permitting easier access to knobset functions (i.e., one Strip has EQ, the next Dynamics, etc.). Changes to the Main or Swap level affects all expanded Strips. Strip Expand is also useful when showing multiple Aux send pages with more than eight aux sends. To expand a Strip: 1 Press the Strips key in the Main Panel. 2 Press the Strip Expand key in the Strip Config Panel. The key illuminates when active.
You can also press that channel’s Chan Select key in the center section Select Panel. Channel Select key C3 ON solo C4 ON solo C5 ON solo C6 C7 ON ON solo solo Center Section Select Panel 4 Deselect the Fader Unity key when finished to turn off the Fader Unity function. Fader Meters The Fader Meters parameter controls what the Strip fader’s LEDs measure. They are set using the keys that appear below and indented from the Fader Meters key. Off Turns the Fader Meters off so nothing is displayed.
Delay Display Modes Three delay display modes are available in the Strip Config Panel (Pg 3) when the Dly parameter is selected on the channel strip: Mode Input Delay Units Samples kS (kilo-samples), S (samples) Seconds/Frames Sec (seconds), Fr (frames), Fr (sub-frames), S (samples) Seconds/Milliseconds Sec (seconds), mSec (milliseconds), S (samples) Strip Config Panel: Pg 3–4 of 4 Aux View Enabled The Aux View Enabled function enables the Aux view on the TFT display.
Clear Defaults The Clear Defaults file determines what happens when a function or channel is cleared. For example, a certain set of equalizer settings can be restored when you clear a channel’s EQ. Clear Defaults settings are stored in the C:\emix\system\ClearDefaults.dat file and may be moved between Titles, systems, or Mixer Models. To modify the current Clear Defaults file: 1 Press the Capture key. A dialog with the message Capture Selected Yes or No? appears.
Select/Punch Keys There are several Select/Punch keys on a Strip that operate on different levels: • At the top of the Strip (see page 62), the Knobset Select/Punch key selects parameters for the currently selected function or punches out ALL knobs. • The upper switch to the left of the knob is the Select/Punch key for the On/Off switch below it. When the transport is moving, it is the punch-in/out key for the On/Off switch.
All Mode When All mode is active on a Strip, that Strip’s function and Swap keys operate on all channels currently mapped to the console. This mode changes only which parameters are currently displayed. For example, assigning EQ to one Strip’s knobs assigns EQ to all Strip knobs. However, setting EQ parameters on a Strip does not change the EQ on other Strips. To activate All mode: 1 Hold down the Wave key and press the Clear key at the top of the Strip (above the top knob’s display).
Channel Process Order and Patch Points The seven channel processing functions can be placed in any order to suit different applications. The default order is: Delay, Meter, Insert, EQ, Filters, Dynamics, and Fader. The nine patch points are: A Input, B Input, Insert Send/Return, Pre-fader Output, Post-fader Direct Output, Dynamics Key Input, and Dynamics Side-Chain Link In/Out. All patching is performed from eMix (see Chapter 3, “eMix Application”).
To display the configuration controls for processor order and patch points: 1 Press the Input function key to assign the Input controls to the knobs. 2 Press both cfg keys simultaneously. The cfg keys flash to show configuration mode is active. The configuration pages display the patching and processor order for that knobset. 3 Press either of the keys individually to navigate between the two configuration pages.
Channel Processor Order The channel process order is accessed in eMix (Masters > Process Order) and changed for pairs of channels. The upper part is for Multi Format Masters, and the lower part is for channels. 1 Select the process and drag it to the desired position. 2 Change the process order for all channels by altering the column on the left. 3 To reset to the default process order, right-click the channel number and select Reset Process Order.
Channel Functions System 5 provides exceptional programmable functions for each channel: Input, Dynamics, EQ and Filters, Aux Sends, and Pan. Function Presets Function Presets support storing and recalling function settings to a channel. They can be moved between Titles, systems, and Mixer Models. Multiple functions can be included in one Preset. Function Presets are stored in the c:\emix\system\FunctionPresets.dat file. To store a Function Preset: 1 Press the Func Presets key from the Main Panel.
Inputs Each channel has an A and B input. See “Channel Patch Points” on page 75 to learn how to assign sources for these inputs. The Inpt knob (bottom) can feed A, B, or A+B to the channel. These two inputs can be used in many clever ways, but a common application is one mic and one line. Another common use is for monitor inputs: Channel 1A is from the Group 1 Bus output, while 1B is from the recorder’s track 1 output. The A/B source switch then acts as a bus/tape switch.
Analog Controls If an ML530 Mic-Line Interface or Modular I/O preamp is patched to the input, the top four knobs show the analog mic-line controls. Otherwise, they are blank. • The top knob shows whether the input is high or low impedance (HiZ = line; LowZ = mic). Press the lower switch to the left of the knob to toggle between values. • The second knob shows whether the 48 V phantom power is on/off. Press the lower switch to the left of the knob to toggle phantom power on/off.
Stereo Controls Stereo channels have additional controls (see “Multi Format Masters” on page 111). Bal Filt LTM RTM Dly Aphs Dyn Inp Bphs Fad Page keys display second page and Signal Processing In/Out page Stereo Controls Balance Rotate the Bal knob left to hear more of the left channel. Rotate it right to hear more of their right channel. Rotate left or right until the display reads 100L or 100R to hear only the left or right channel.
Dynamics Each channel has a compressor/expander/gate with external key input and filtered sidechain. Press the Dyn function key to assign Dynamics to the knobset; the TFT display at the top of the Strip shows the dynamics graph (yellow when dynamics are In, gray when bypassed). The red dot is a GainBall that shows the signal’s current gain (y-axis), and the attack and release times, as the ball rides up and down the curve.
Expander/Gate (Page 2) The lower switch next to the xRat knob switches the expander in/out. The expander parameters are summarized in the table below. xHys Hysteresis (dB) sets the level that the gain of the expander must fall below to turn off. This prevents the expander from turning on and off if the level hovers around the threshold.
Sidechain/Filters (Page 4) The Sidechain/Filters knobset page is shown in the figure above. The lower switch next to the SC knob activates sidechain listen mode for that channel. The Sidechain/Filters parameters are summarized in the table below.
Parametric EQ Each parametric EQ band has two knobs: one shared between frequency and Q, and another for gain. Press the upper switch to the left of any frequency knob to toggle between Q and frequency. Use the gain knob to adjust the gain for that band. The lower switch to the left of the gain knob switches that band In/Out. The four bands are identical (20.5 Hz – 21 kHz) except the HiF and LoF bands can be either peak or shelf filters.
Aux Sends The number of Aux sends available depends on the number of cards in the DF66 (or whether the DF70 is used instead) and the current Mixer Model. See “Choosing a Mixer Model” on page 28 to learn about these issues. The CM401T Master module has a Group/Aux Strip used for Aux Master functions. See “Bus Master Functions” on page 92 for general information and “Group and Aux Busses” on page 95 to learn how to set up mono and stereo Aux busses. Aux Sends can be mono or stereo odd/even pairs (i.e.
Aux Send Config Aux Sends can be individually or globally set to pre- or post-fader. To set each Aux Bus individually: 1 Press the Aux function key to display the Aux Bus knobset. 2 Press the upper-left button beside each Gain knob to toggle the pre- or post-fader status for that send (or pair for stereo). The button lights yellow to indicate pre-fader and does not light for post-fader. All Aux busses are set to post-fader by default. Another option is to copy/paste the desired Aux to other channels.
Pan Unlike a traditional analog console, System 5 is not limited to one pan format and one pan control per channel. System 5 supports the following pan formats (also called pan laws): mono, stereo, LCR, LCRS, 5.1, 6.1, and 7.1. A single panner can control several different Mix or Group busses at once, each with different formats. See “Mix and Group Bus Setup” on page 97 to learn how to assign Mix and Group Bus format. Press the Pan function key to assign Pan parameters to the knobset (see figure below).
Divergence Front (DivF) This parameter requires at least three speakers to function. Divergence ranges from 0–100%. At 100%, panning works as expected: Panned to maximum left, there is no signal present in the right or center channels; at the center position, no signal is present in the left or right channel, etc.
Track Panner Module The Track Panner Module is a four-Strip wide optional addition to the System 5 console. It controls the Pan of a channel, Multi Format Master, or Control Group assigned to the Center Strip. Press a Strip’s Wave key to assign it to the Center Strip; the active channel’s Pan is automatically controlled by the Track Panner Module. The switch to the lower left of the trackball is the Select/Punch key for the trackball panner.
Mix Bus Routing The 16 Mix Bus sections consist of individual busses in a defined pan format. For example, one section with an LCRS format uses four busses, another section with a 5.1 format uses six busses. A system with 16 mix busses could have eight sections each with a stereo format. Route a Channel to a Mix Section To route the post-fader channel signal to a Mix bus: 1 Press the MIX route key below the function switches. (See “GRP and MIX route switches” on page 89.
Mix Minus (S5B Only) Each channel has a Mix Minus output that can send a unique feed to an announcer. The Mix Minus Reference Bus is configured on the last page of the GRP routing knobset. The signal from the channel to the mix minus system can be set pre- or post-fader using the Pre key. The Mix- knob controls the Mix Minus Output’s gain. To create a Mix Minus assignment: 1 Press the Bus key on a channel Strip to route it to the Mix Minus bus.
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Chapter 7: Busses and Bus Masters The number of busses and channels available in your System 5 configuration is determined by the processing power in the DF66 Super Core (number of cards) or the DF70 (if used instead) and the Mixer Model: more channels = less busses and vice versa. See “Choosing a Mixer Model” on page 28 for a complete discussion of these system resource issues. System 5 has four bus types: Mix, Group, Aux, and Solo.
Bus Master Functions The Bus Master Strip has eight knobs and five function keys that control all Bus Master functions.
Aux, Grp, and Mix Masters Pressing the Aux Mstrs, Grp Mstrs, or Mix Mstrs keys displays the Aux Bus, Group Bus, or Mix Bus functions, respectively, on the Bus Master knobset. Bus Lock The Bus Lock key disables the following functions when activated: Bus Levels (Mix Master, Master Trims, and Leg Trims), Bus Inserts, Bus On/Off switches. While these functions are disabled, their values may still be interrogated. Mon Lock The Mon Lock key disables the Control Room and Monitor levels.
Mix Bus Press the Mix Mstrs key to assign the mix bus sections to the Bus Master knobset. The Master Fader controls the overall Mix section levels. Each Mix section has its own level control as well as trim controls for each Mix Bus in its selected format. (See “Busses” on page 26 to see how to set the format.) Relative levels are maintained when adjusting the Mix Bus Master or Mix Bus section level until a maximum or minimum value is reached.
Individual Mix Busses The right side of the figure above displays the individual Mix Bus selected by pressing the upper of the two buttons to the left of each knob. The important functionality is summarized below: • Press the lower of the two buttons to the left of each knob to turn the individual bus On/Off. Its level is retained if that bus is turned on after being off. • Adjust a knob to set the level for that bus. Group and Aux Busses The Group and Aux Bus Masters have the same controls.
Pre/Post To toggle selected Aux sends between pre-/post-fader: 1 Press the Pre/Post button. 2 Press the desired Aux bus knobs. 3 When finished, select a different Aux function. Unity To set selected Aux send level to unity: 1 Press the Unity button. 2 Press the Aux bus knobs to set to unity. 3 When finished, select a different Aux function.
Bus Master Inserts Each Group, Mix, and Aux Bus has an insert point. See “Mix Bus Send/Return” on page 25 to learn about bus insert send and returns specified in PatchNet. To switch the insert in/out: 1 Press the Aux Mstrs, Grp Mstrs, or Mix Mstrs button to display that bus on the Bus Master knobset. 2 Press both cfg and keys simultaneously. 3 Press the lower button to the left of the knob to activate that bus insert (In: button lit).
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Part III: Control, Layouts and Snapshots, and Linking
Chapter 8: Machine Control (S5P Only) The center section Machine Control Panel contains System 5’s Transport and Locate functions. Use the figure below as a reference for this chapter. Time Display Locate Time Display 12:24.03.10 Time Display hr min bar sec / ft beat fr / msec tick 00:16.12.
Transport Controls The Transport section has the standard Play, Rewind, Fast Forward, Stop, and Record keys. The Shuttle and Jog keys provide additional transport functions: 1 Press the Shuttle key so it lights. The SpinKnob moves the transport backward or forward. The speed depends on the degree of the SpinKnob’s rotation. 2 Press the Shuttle key again to deactivate. 3 Press the Jog key so it lights. The SpinKnob moves the transport backward or forward.
Locate Registers H:M:S:F Feet + Frames FF o-set 00:00:00:00 Film Type 35mm PreRoll 00:00:00:00 PostRoll00:00:00:00 Rollback00:00:00:00 T/Start 00:00:00:00 T/End 00:00:00:00 R/Start 00:00:00:00 R/End 00:00:00:00 Locate Registers Panel Feet + Frames or H:M:S:F Display The recorder’s time can be displayed in the H:M:S:F format (the default SMPTE timecode) or the Feet + Frames format commonly used for film.
Entering and Modifying Time Displays There are three ways to enter a time into the Locate Time Display: • Numeric Keypad: Use the numbers along the left of the Machine Control Panel to enter a time. To enter 5 seconds, press 5, 0, 0, Enter. It is not necessary to enter leading zeros. • Transfer Current Time to Locate Time: Press the downward arrow to the right of the Current Time Display to transfer it to the Locate Time Display.
Cue Points Each Title can store virtually unlimited Cue points. CMX 3600 EDL files can be imported into the cue list from the Titles folder. When an EDL is selected, the Open button changes to Import. If a cue point in the EDl matches one already in the Title, the cue in the Title is kept so the Cue notes are maintained. To create a new Cue: 1 Press the Store Locate or Store Current key to use the Locate or Current Time, respectively. 2 Press the Cue key.
Track Arming The Machines - Setup Panel controls track arming (see figure below), and can be displayed by pressing the Machine Setup button from the Main Panel. The Record in Motion, Track Arm in Motion, On Transport Stop, and Arm While Stopped each have two, mutually exclusive settings. A single serial port of the TT002 can provide up to 64 channels of track arming.
Record in Motion These controls affect the recorder while the transport is in motion. • Activate the Rec NeedsPlay+Rec key to place armed tracks into record by pressing the play and record keys together. • Activate the Send Rec with arm key to place armed tracks into record by pressing just the record key. On Transport Stop These controls determine what happens to armed tracks when the transport is stopped. • Activate Disarm on stop so armed tracks are disarmed.
TT002 The TT002 is a single-port RS422 (Sony 9-pin), USB device and MMC machine controller (not a synchronizer). It replaces the TT007, MOTU MIDI Interface, and GP132, and ships with all System Computers. It locks to a machine more quickly and simply than previous devices and reads LTC. To control more than one machine, a Sound Master, Colin Broad RM6, or similar device is required. The System 5 software can auto-sense the TT002 or TT007.
Chapter 9: Control Groups and Multi Format Masters Control Groups A Control Group consists of a Group Master channel that controls multiple slave channels. Control Groups are similar to traditional VCA Groups, and the Group Master channel can be assigned to a Strip just like any other channel. The most common Control Group application uses a Group Master channel to control similar channels. For example, a single master fader can change the fader level of all announcer mics.
Create Control Group To create a Control Group: 1 Press the New key at the bottom left of the Groups Panel (see figure above). 2 Select the slave channels by pressing their Chan Select keys. The Chan Select keys flash to show they are included in the Control Group. Press the Chan Select key again to remove it from the Control Group. The Slave LED lights. 3 Press a Control Group key in the Groups Panel.
Coalesce Control Group This operation transfers automation from the Control Group master to the slaves. The audio result is identical to before the coalesce operation, and the Control Group remains intact. To coalesce a Control Group: 1 Press the Coal key at the bottom of the Groups Panel. The Coal key begins flashing. 2 Press the key for the Control Group you want to coalesce. Multi Format Masters A Multi Format Master supports building stereo, LCRS, 5.1, 6.1, and 7.1 channels from mono channels.
2 Select the channels to include in the master channel by left-clicking and dragging across the desired channels. The selected channels are now highlighted. 3 Right-click on any highlighted channel to select their channel format. To group discontinuous channels into a Multi Format Master, right-click each channel and select the same format. PatchNet automatically links dynamics to stereo, LCRS, 5.1, 6.1, or 7.1 channels.
Chapter 10: Layouts and Snapshots System 5 performs mix-management functions significantly faster than a traditional analog mixing system: • The PatchNet digital signal patching system can save a complex patch system for each Title. See Chapter 3, “eMix Application.” • Automation supports recording, refining, and replaying virtually all settings with unprecedented precision. See Chapter 12, “Dynamic Automation (S5P Only).
New Layout To create a new Layout: 1 From the Main Panel, press the Layout key. The Layout Panel appears. The button beside the last Layout recalled is illuminated. 2 Press the New key at the bottom left of the Layout Panel. The key flashes to signify creation of a new Layout. 3 Select the channels to include in the new Layout: Press the ALL key at the bottom right of the Layout Panel to select all console Strips. – or – Press the Wave key for each Strip to include in the Layout.
Recall a Layout To recall a single Layout: 1 If the RCL key is not lit, press it once so it flashes. 2 Press the location key for the desired Layout. The Layout reconfigures the console surface and the RCL key turns off. It can be useful to recall several Layouts consecutively to decide which to work with: 1 If the RCL key is not lit, press it twice so it illuminates but does not flash. If the RCL key is flashing, press it once. 2 Press the location key for the desired Layout.
Snapshots A Snapshot stores selected channel functions, switch states, fader and pan settings, and routings, for a selected number of channels. System 5 provides easy methods to store: • an individual function parameter or switch state; • the current Knobset function; • all functions from one or more channels; • all functions from all channels currently on console surface; • all functions in all channels in the Mixer Model.
Individual Function or Channel Parameter Press a Strip function’s parameter key or switch to select only that parameter (i.e., High EQ, fader on/off, etc.). – or – Current Knobset Function Press the Knobset Select switch at the top right of the Strip or the Func Sel switch (to the left of the * key) to select all parameters for the current knobset function in the current channel (Main or Swap). – or – Individual Channels Press the Chan Select key for each channel to include in the Snapshot.
Update Snapshot If function or switch values in a Snapshot change, they can be easily updated. 1 Press the STO key at bottom right of the Snapshot Panel. The STO key begins flashing. 2 Press the Snapshot key to update. Only the items from the Snapshot are updated to the current settings. Rename Snapshot To rename a Snapshot: 1 Press the Name key at the bottom of the Snapshot Panel so it begins flashing. 2 Press the Snapshot key to rename. That key flashes.
Scenes Panel To access the Scene Panel, press the Scenes key on the CM401T Main Panel. If there are no Scenes, press New or Ins to create one to edit. The Scene List shows the currently selected parameters. To edit parameter values, press the button to the right of the Scene parameter displayed (see figure above). Use the CM401T keyboard to change the parameters. CM401T Scene Automation Edit Page A Scene contains the following parameters: Name Enter up to 15 alphanumeric characters for the Scene Name.
The buttons along the bottom of the Scene Panel create and manipulate Scenes. New Creates a new Scene at the end of the Scene List. The Glide Time and Auto Follow status of the previous Scene are automatically entered in the new Scene. Ins Inserts a Scene after the currently selected Scene. The Glide Time and Auto Follow status of the previous Scene are automatically entered in the new Scene. Del Deletes the currently selected Scene. Take Executes (fires) the current Scene.
Chapter 11: Linking (S5P Only) Multiple parameters can be linked such that altering one of them affects them all. Relative offsets are retained between linked continuous controls (fader, EQ, frequency, etc.) so moving any member of a linked group causes all other members to track the magnitude of that move relative to their start position. A parameter can be suspended from the Link so it can be moved independently without affecting the others.
Link Suspend Hold down the Link key to suspend any controls on that channel from the Link. That channel’s Linked controls can now be adjusted without affecting the others or being affected by them. Release the Link key to re-establish the Link. To latch a control into Suspend mode: 1 Hold down the Link key and press that function’s Select/Punch key. Suspended objects are indicated by a flashing RGB LED on the knob or a flashing Select/Punch key.
To set up a Link from the joystick with existing channel Links: 1 Hold down the Wave key and the press the joystick’s Link key. The Link key flashes and the joystick displays ?? in the channel display to indicate Link mode. 2 Press the Link key on any channel already in a Link. That channel is Linked to the joystick. Strips for all Linked channels enter Link mode. 3 Press the Link keys on additional channels to add them to the Link. Panners are automatically included if they were not already.
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Chapter 12: Dynamic Automation (S5P Only) System 5’s dynamic automation records and plays back the movements and settings of the console faders, knobs, and switches. Each parameter displays its automation read/write status with dedicated status LEDs. System 5 provides utilities to easily rehearse automation settings before committing to recording them. After recording initial automation, several editing methods assist smoothing transitions at the punch in/out points and making other refinements.
Automation Interface The interface for each automated channel parameter consists of its Read/Write automation status LEDs and Select/Punch keys. The center section Automation Panel (see figure below) is the global interface that sets automation modes and functions, such as Aux, EQ, Pan, and Dynamics, on all channels.
Automation LEDs The figure below shows the fader, switch, and knob automation interfaces. Each automated parameter has two status LEDs: • The red LED (right) indicates the parameter is in Write mode. • The green LED (left) indicates the parameter is in Read mode.
Automation Modes The automation mode is stored along with the other parameter settings. Each mode is defined and discussed in detail in the following sections. Isolate All parameters default to Isolate mode at the beginning of a new mix. A parameter in Isolate mode will not record or playback automation and operates manually only. If a parameter is set to Isolate mode after recording automation, the automation is preserved but ignored until another mode is selected.
Write Trim A knob or fader set to Write Trim mode and punched into record for the first time moves to the null trim position at 0 dB. A trim range of ±15 dB can augment the Absolute value. Trim settings are maintained separately from Absolute values unless they are merged. See “Merge Trim” on page 147. Flash Red Green For example, moving the control up 5 dB from the null position adds 5 dB to the underlying move. Punching in and out without moving the control does not change the underlying move.
Assigning an Automation Mode An automation mode can be assigned using three methods, each discussed in its own section below. • Global Mode/Global Function: Assign a globally selected automation mode to all console functions of a given type. – or – • Global Mode/Strip Function: Assign a globally selected automation mode to selected Strip functions. – or – • Strip Mode/Strip Function: Assign a Strip’s automation mode to an individual Strip function.
Strip Mode/Strip Function To assign an automation mode selected on the Strip to an entire function or individual parameters on a Strip: 1 Hold down the Strip’s Wave key and press its Select/Punch key. The popup menu above the Strip displays automation modes. The current mode is highlighted in green. 2 Press the Select/Punch key until the desired mode is highlighted green. 3 Release the Select/Punch key, but keep holding down the Wave key.
Recording Automation Since Isolate is the default mode for all parameters, the read and write LEDs are off at the beginning of a new mixing session. To record and play automation, the Mix On key must be lit at the top left of the center section Automation Panel (see the figure on page 125). Knob and Fader Automation To record basic fader and knob automation: 1 Press the Mix On button so it is lit. 2 Set the automation mode to Write Absolute or Write Trim for desired parameters.
Additional Fader Punch Record Methods Write Ready Record Flash Punch Red Green Flash Punch Write Ready Control Level Control Level Red Green • To record a flat move without touching the fader, punch the fader in and out with the fader Select/Punch key (left of figure below).
Playing Back Automation A control’s behavior during automation playback depends on its type (knob, fader, switch) and the automation mode. This section describes only those control/mode combinations that, during playback, neither respond to automation nor begin recording automatically when adjusted manually. See “Automation Modes” on page 128 for descriptions of the automation modes. Write Absolute Knob Rewind to just prior to the recorded automation.
Isolate In Isolate mode, parameters do not play or record automation, but can be manually adjusted. Write Trim Playing back Trim automation for an Aux knob or fader has the following behavior: • If the control is in Write Trim mode, it indicates the Trim level of the recorded automation, while the audio reflects the total level (Absolute + Trim). • If the control is in Read mode, the control and audio playback reflect the total level (Absolute + Trim).
The fader’s ATO setting can be changed “on the fly” to override either Auto or Manual Glide: 1 While holding the fader, press its Select/Punch key. The red automation LED blinks rapidly. 2 Move the fader until its level intersects with the underlying automation. The fader automatically punches out. The ATO setting is not sticky: the current Auto/Manual Glide setting resumes control during the next automation record session.
Setting Auto and Manual Glide Times To set the Auto Glide time in the Automation Panel: 1 From the Main Panel, press the Automation button to display Automation Panel Page 1. 2 Enter a timecode into the locate time display using the center section numeric keypad. The entire time must be entered, beginning with frames. When the first numeric key is pressed, the display clears to enter the new value.
Fill Features To understand the utility of System 5’s Fill features, consider this situation: Fader automation has been recorded from 00:01:00:00 to 00:02:00:00 and from 00:04:00:00 to 00:05:00:00. What initial fader value should be used if recording or playback begins at 00:03:00:00? Because there is no automation written at this time, it is called virgin territory.
AutoFill AutoFill writes the value at the punch-in point back to the beginning of the mix (or previous punch-out point) and to the end of the mix (or next punch-in point). AutoFill can only be used during a parameter’s first automation pass, which ends when the recorder stops; more than one punch in/out is permitted. If automation has already been recorded for that parameter, AutoFill can be set to On but will have no effect.
Setting AutoFill to On AutoFill defaults to Off so you must set it explicitly to On prior to the first pass. 1 From the Main Panel, press the Automation button to display Automation Panel Page 1. 2 Press the Page > key to display Automation Panel Page 2 (see figure below). 3 Press the AutoFill key to enable AutoFill for the first pass.
Fill End 1 Press the Fill End key in the center section automation panel. The Fill End key flashes. 2 Punch in the parameter and adjust the control. 3 Punch out and the level at that time is written to the end of the mix. The Fill End key stops flashing indicating it is no longer active. Fill End is useful to quickly fill a static value to the end of a mix without recording to the end.
Fill Region + Fill Start + Fill End Fill Region is used in combination with Fill Start and Fill End to set a value for a defined region rather than throughout the mix. The punch-out point must be within the defined region for the fill to apply. 1 Record a fader level from 00:01:00:00 to 00:02:00:00 so you can see how the new level will override an existing one. 2 Enter 00:01:00:00 into the AR/Start field and 00:02:00:00 into the AR/End field.
Punch Preview Press the Punch Preview key to punch in all parameters in Preview mode at the level set when punched out in the Preview pass. Activating the Punch Preview key automatically illuminates the Suspend Preview key. Knobs and Switches Punching in a knob or switch set to Write Absolute (or Write Trim for the knob) with Preview On permits manual changes to the parameter, but ignores underlying automation. Pressing the Select/Punch key a second time punches in with the selected automation mode.
Join When the recorder stops while recording automation, the pass ends and any parameters still recording are automatically punched out. It is useful to remember which parameters were punched in when the tape stopped so they can be punched back in during the next pass. Join and Auto Join offer different ways to accomplish this automatically. Press the Join key during the automation pass in which you want to remember the punched in parameters.
Synchronizing Automation with an External Device System 5’s automation can be synchronized to incoming timecode from an external device, such as a tape recorder. TC Lock and TC Slave, available from the Setup menu in the Machines Panel, establish the type and sensitivity of the synchronization. TC Lock TC Lock sets the elapsed time before System 5 locks to the incoming timecode. This setting accounts for the time required by the tape deck to ramp up to its playback speed.
Automation Management Group Coalesce Group Coalesce transfers automation from the Control Group master fader to the slaves. 1 Press the Panel Viewer’s Main Panel key. 2 Press the Groups button to display the Groups Panel. 3 Press the Coalesce key at the bottom of the Groups Panel. The Coalesce key begins flashing. 4 Press the Groups key to coalesce the group. All master fader moves get transferred to the slaves and the Control Group is deleted.
Prune Tree Pruning the mix tree deletes all passes that are not in the direct line from the first to the last pass. In the figure above, passes 3, 6, and 7 would be deleted but the existing numbers are retained. This frees up space and simplifies complicated trees. Prune the tree only when you are sure you will not need the information in those passes. 1 Press the Prune Tree key in Automation Panel Page 2. 2 Confirm at the bottom of the panel to prune the pass tree.
Automation Conform As video or film sections are inserted, deleted, and moved during post-production, the Conform utility realigns the automation data to match the edited film. It is important to emphasize that Conform affects the automation data only; the audio must be realigned in a separate operation.
Hot Keys Tab and Shift+Tab Moves to next/previous field. This may trigger time fields to be calculated and displayed Arrow Up/down Moves to the previous/next entry Page Up/Down Scrolls up/down the list by one page Home/End Scrolls to the top/bottom of the list Shift+Page Up/Down Scrolls to the top/bottom of the list Operation Types Seven types can be selected from the Operation menu.
Entering Notes Click in the Start Time field to begin entering a note. Press the Enter or Tab keys on the keyboard to move one field to the right. The fields do not have to be entered from left to right and some fields are calculated automatically. For example, you can select an Operation before setting time fields. If Start and End Times are entered, the Duration field is calculated automatically. If Start Time and Duration fields are entered, End is calculated automatically.
Executing the Conform Operation After all notes have been entered and verified, press the Conform button at the bottom-center of the screen. The Execute Conform dialog appears to confirm that you want to proceed. This realigns the automation with the edited film. Execute Conform dialog Each Conform operation adds a new pass to the Pass Tree. To undo the Conform operation, return to the previous pass to the one just created (see “Mix Passes” on page 146).
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Chapter 13: GPI/O Event System The event system can program useful System 5 features such as: • Use a fader to start a cart machine or turn speakers on/off. • Turn a channel on/off in response to a camera turning on/off. An event consists of a set of input conditions governed by a logical operator that determines the output condition. Inputs can be surface parameters (i.e., channel on, fader, etc.) or external inputs via the TT002. Outputs can be System 5 parameters or external outputs via the TT002.
Input Types GP Input Types, Settings, and Activation Values Input Type Settings Activation Values Control Room Monitor A Monitor B Monitor C Monitor D Control Room Cut Control Room Dim On Off Cue List Cue # Offset Fader Channel # Activation Level (dB) Activation Type (Above/Below) GP Input Relay Input #:(1–32) Machine: GP132 One GP132 Two GP132 Three GP132 Four GP132 Five TT002 On Off Switch Input Channel # Channel EQ Filters Dynamics Mono Aux In/Out Mono Aux Pre/Post Stereo Aux In/Out Stere
Output Types GP Output Types, Settings, and Activation Values Output Type Settings Activation Values Control Room Monitor A Monitor B Monitor C Monitor D Control Room Cut Control Room Dim On Off GP Output Relay Output #: (1–32) Pulse length (0 to latch): 0 to 1000 ms Machine: GP132 One GP132 Two GP132 Three GP132 Four GP132 Five Open Closed MIDI Output Event Type MIDI Channel 1-16 MIDI Note 0-127 MIDI Velocity 0-127 On Off Switch Output Channel EQ Filters Dynamics Mono Aux In/Out Mono Aux Pre/P
Logical Operators The logical operators process input event conditions to determine if the output event is executed. All logical operators are transitive: for example, 1 AND 0 = 0 AND 1.
Event List An event is composed of: • an input description and type; – and – • a logical operator; – and – • an output description and type. To add an event to the list: 1 Click the field at the bottom of the Description column. 2 Click in the Description field, and type a description. 3 Select the logical operator from the Logic menu. Input The input area has two sections: • The top area contains a list of inputs for all events in the Event List.
Deleting Events Delete an event by selecting the event, input, or output and pressing the Delete Selected Entry button at the bottom left of the Events screen. GPI Examples Refer to the two previous figures for these examples. The options available in the Input and Output Properties areas are summarized in tables on page 154 and page 155. An event with just one input delivers the same result with AND and OR, so they may be used interchangeably.
5 Configure the Input Properties to the following settings: Channel # 1 Activation level (dB) -50 Activation Type Below 6 Repeat steps 3–5 for any additional channel faders, but set the Channel # in step 5 to the new channel number. 7 Under Output, click on the field. The Add Output Event dialog appears. 8 Select Control Room from the menu and click OK.
To stop a Cart machine by moving a fader below a selected level: 1 In the Event Configuration window, under Event List, click the field. The Add Event dialog appears. 2 Select AND as the logical operator from the menu. 3 Under Input, click the field. The Add Input Event dialog appears. 4 Select Fader from the menu and click OK.
8 Configure the Output Properties to the following settings: Channel # 3 Switch Function Channel Activation Value On To have a video switcher turn a specific camera mic channel off: 1 In the Event Configuration window, under Event List, click on the field. The Add Event dialog appears. 2 Select AND as the logical operator from the menu. 3 Under Input, click on the field. The Add Input Event dialog appears. 4 Select GPI from the menu and click OK.
Audio Follow Video This example has four cameras, each with a microphone, configured with a video switcher, TT002 GP Input, and System 5 console. We want to implement the following functionality: • When the video switcher takes camera 1, channel 1’s audio is on while channels 2–4 are muted. • When the video switcher takes camera 2, channel 2’s audio is on while channels 1, 3, and 4 are muted. • When the video switcher takes camera 3, channel 3’s audio is on while channels 1, 2, and 4 are muted.
3 From the Inputs section, click . The Add Input Event dialog opens. Add Input Event Dialog (left) and Input Events Properties (right) 4 Select GPI from the Input Types menu. 5 Configure the lower area of the Input section to the settings in the figure above (right). 6 From the Output section, click . The Add Output Event dialog opens. Add Output Event dialog (left) and Output Events Properties (right) 7 Select Switch Output from the Output Type menu.
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Chapter 14: CM403 Film/Post Module (S5 Only) The CM403 fulfills the requirements for a traditional PEC/Direct monitoring system for the post-production environment. It can be used in single- and multi-operator System 5 consoles. Up to four Post Panels can be installed in a single system. The CM403’s form factor is the same as other CM40x control modules. The CM403 contains a TFT and three same-size panels, two of which are taken by the Film and the Dual-Joystick Panels.
The Film Panel Link allows the user to select which bus sections/legs are under the control of the master. Ready switch enables Record On for selected bus(es). Solo and On switches for monitor inputs assigned to selected paddle Ext Record switch enables external GPI to trigger record. 8 plus master RECORD ON/OFF and BUS/PB (playback) paddles. Sum switch is reserved for future use. Solo switch lights when a monitor matrix solo is active and hitting the switch clears all solos.
The PEC/DIR Panel This panel houses the traditional paddles used for PEC/DIR, Bus/Playback, or Bus/Tape switching. The second set of paddles are used to put tracks into record. There are eight paddle strips, with associated switches above them, and a master control strip. Bus/Tape switching on the paddles is consistent with the Dir/Ret CR Source switching on the CM401T (see “Monitoring” on page 40) between the Mix busses and their associated returns.
< Page > Keys These keys switch the display between two pages of eight-bus sections. Sum and Solo Keys The Solo key lights when something is in solo. Pressing the lit Solo key clears the current solo. The Sum key is reserved for future use. Ext Record Key When the Ext Record key is lit, the master record paddle can be triggered remotely from a GPI. Record, Preview Keys These keys toggle the Ext Record between record and preview, record (master record paddle), and preview (master PEC/DIR paddle).
Speaker Re-Assign The system automatically sends mix busses to the correct monitor bus based on the bus format. For example, when monitoring FX1, the left bus of the section is automatically sent to the left monitor bus. It is sometimes necessary to override this assignment and send a mix bus to a different monitor bus than was intended. The Exp/Sel keys (above the displays on the PEC/DIR panel) can select busses within a section.
Solo Control The Solo Control switch controls the solo modes, which are similar to the those in the CM401T: summing, intercancel, momentary, and safe. Solo Safe is applied to the stems by selecting the Exp/Sel key above the stem you want to make safe.
CM403 TFT Display The TFT displays meters and an overview of the monitor bus assignments. Metering Display The meters track what is currently assigned to the paddles. The send and return for each bus are displayed on separate meters. At the top level, where the paddles are assigned to the bus sections, eight meters can be displayed for each of the mix busses within the section.
Dual Joystick Panel The Dual Joystick Panel houses two joysticks in a full-width panel mounted in the CM403 module. Select key Channel Display C1 100% Activates the joystick – when off, channel is not being controlled Turns joystick motor on and off Joystick Select/Punch key Wave key is used with Select/Punch key to set automation mode, link to a strip, or lock from layouts Pan L/R Pan Engage Snd F/B Surround Engage Link Link Key Solo Solo Channel Joystick position matrix is 19 x 19 LEDs.
Cycle Selecting a channel using the Wave key assigns it to the left joystick. Selecting a second channel within 2.5 s assigns it to the right joystick. Direct Assign Hold a channel’s Wave key down and select Pan To: to assign that channel to the left joystick. Hold the Wave key down and select the Pan knobset key to assign the channel to the right joystick. 402 Cycle This assigns channels to the joystick using the channel select keys on the CM402T’s channel select panel.
Multi-Operator Console System 5’s multi-operator post environment creates one large console that can operated by multiple engineers. In reality, each section is a unique System 5 console, which supports a maximum number of channels per operator. The Mix and Solo busses are normally linked across the consoles, while the Aux and Group busses are not. In a two-operator system, one console usually handles the FX, and the other music and dialogue. Only one console, designated the Master, uses its monitor matrix.
Machine Control Film environments often require both operators to share control over the machines. A single synchronizer (such as a CB RM6 or SoundMaster) can combine the machine control commands from two consoles. third-party synchronizer TT003 RS422 TT003 RS422 System Computer System Computer Slave Console Network Master Console Network Master and Slave Console Hookup Track Arming Up to 48 tracks of a single machine can be track armed via MIDI or P2.
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Chapter 15: Hybrid Pilot and System 5 Fusion Options The Hybrid option supports controlling EUCON-enabled workstations from the System 5 control surface. It requires a SC254H Pilot computer and is appropriate for larger applications that use a separate DF66 or DF70 to handle DSP. The Fusion option uses the SC264D System computer to perform system DSP (up to two cards installed), and run eMix and the Hybrid software. The Fusion option is appropriate for smaller Mixer Models (i.e.
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Appendix A: Compliance Information Environmental Compliance Disposal of Waste Equipment by Users in the European Union EMC (Electromagnetic Compliance) Avid declares that this product complies with the following standards regulating emissions and immunity: • FCC Part 15 Class A • EN55103-1 E4 • EN55103-2 E4 • AS/NZS CISPR 22 Class A • CISPR 22 Class A FCC Compliance for United States Communication Statement This symbol on the product or its packaging indicates that this product must not be disposed of wi
Safety Compliance 17) For products with a power switch: It should remain accessible after installation. 18) The equipment shall be used at a maximum ambient temperature of 40° C. Safety Statement This equipment has been tested to comply with USA and Canadian safety certification in accordance with the specifications of UL Standards: UL60950-1:2007, 2nd Ed and CAN/CSA C22.2 No. 60950-1-07, 2nd Ed. Avid Technology Inc., has been authorized to apply the appropriate NRTL mark on its compliant equipment.
Avid Technical Support (USA) Product Information 2001 Junipero Serra Boulevard Daly City, CA 94014-3886 USA Visit the Online Support Center at www.avid.com/support For company and product information, visit us on the web at www.avid.
