Manual
Table Of Contents
- HD96-24 Overview
- Chapter 1. Introduction
- Chapter 2. HD96-24 Overview
- Chapter 3. System Setup
- Initial set-up procedure
- Unpacking the equipment
- Ventilation
- Racking the I/O
- Connection instructions
- System components
- Powering the system
- Switching on the HD96-24
- To switch off the HD96-24 surface
- Setting up the ID of the unit(s)
- To set up the ID of a I/O unit
- I/O Box Update
- Connection to the internet
- Hardware Connections
- Chapter 4. Before You Start
- Chapter 5. About the Control Surface
- Chapter 6. Navigation
- Navigating via the surface detail area
- Navigating via the GUI Menu Bar
- Side Bar Menu
- Widgets and Rotary Controls
- Workflow Modes Overview
- Overview
- Side Bar Pop Op Display
- Tags and Pops
- Clipping Channels
- Bus Setup and Outputs Management
- Meter Bridge
- Channel View
- Console View
- FOH View
- Automation View
- Navigating via Touch Screen Faders
- Navigating via the Layer Overview/Channel Strips area
- Navigation via Global Assignable Shortcuts area
- Navigation via Pinned Fader and Assignable Controls
- Flip Mode
- One Shot Pot
- Clipped Channels, fault finding a problem channel
- Console Layout Configuration (Navigation)
- Creating a Custom Layout
- Chapter 7. Patching
- Chapter 8. Basic Operation
- Scene and show management (Automation)
- Clear the Console
- Saving and Loading show files to a USB memory stick
- Saving and Loading show files to the mCloud
- Save & Mark
- Rollback
- Load Options
- Automate patching preferences:
- Naming Page
- Channel Tags
- Channel Configuration (Config)
- Setting a Pre-Amp’s input gain
- Linking & Stereo
- Patching
- Direct Output
- Options
- Configuration Pages for Outputs
- Linking & Stereo (Outputs)
- Patching (Outputs)
- Direct Input
- Options
- Oscillator (Output Widget)
- Setting the HPF and LPF
- Input equalisation
- True Audition
- Output processing
- Input Dynamics Processing (Dynamics Section)
- Using VCA & POP groups
- How to configure a VCA/POP group:
- Alternative way to assign VCA/POP groups
- Routing to master stereo outputs
- Manchino Multi Edit Page (Basic introduction)
- Security (locking mode)
- Chapter 9. Stereo Linking
- Chapter 10. Panning
- Chapter 11. Soloing
- Chapter 12. Chapter 12: Muting
- Chapter 13. Monitors and Shout Configuration
- Chapter 14. Graphic EQ (GEQ)
- Chapter 15. Internal Effects
- Effects overview
- Working with channel inserted effects
- Effects Browser
- Effect Rack
- Effect Sub-slots
- Effects Rack Safes
- FX Mode
- Effect Programs
- Reverbs:
- TC Electronic VSS4 Reverb
- TC Electronic VSS3 Reverb
- TC M350
- Ambience Reverb
- Vintage Room Reverb
- Chamber Reverb
- Hall Reverb
- Plate Reverb
- Delays:
- Midas Delay
- Stereo Delay
- TC 2290 Delay
- KT 1176 Limiting Amplifier
- KT Bus Compressor
- R-Comp
- Smart Dynamics Processor
- Dual De-Esser
- DSR De-esser
- PIE (Prime Input Expander)
- Stressor Compressor
- Dual Band & Brickwall limiter.
- Midas U Flange
- Midas U Phase
- Pitch Shifter
- Chorus
- Rotor Motor
- Distortion/Exciter:
- Enlightenment Bass
- Glow
- Tape Saturation
- UNCL.HD MULTIBAND DISTORTION
- M Harmonics
- Chapter 16. Talk and Mute Groups
- Talk Groups
- Mute groups
- Using copy and paste
- Copy and Paste rules and restrictions
- Channels Versus Scenes
- Copy and Paste Parameters
- About the Assignable Rotary
- Controlling the Assignable rotary controls
- Pinned Channels
- Flip Target
- Global Assignable Shortcuts
- Assignables Types: Automation
- Assignables Types: Groups.
- Chapter 19. Automation (Scenes and Shows)
- Chapter 20. Show Editor (Recall and Store Scope)
- Chapter 21. Events (Automation)
- Chapter 22. Crossfade Events
- Chapter 23. TBC
- Chapter 24. File Management
- Chapter 25. Multiple Consoles and Other Devices
- Chapter 26. Preferences (Console Configuration)
- Chapter 27. Delay Compensation (Latency)
- Chapter 28. Panel Connections
- Chapter 29. Inputs
- Input channel routing
- Input channel areas of the control surface
- Input Widget Area
- The following processing sections are available:
- Channel View Workflow
- Side Bar Area
- Channel View
- Sends Overview
- Send Detail Area
- Input channel delay
- Aux return mode
- Effects Insert
- Input Metering
- Input Inserts
- Options - Processing Order
- Safes
- Mic Amp Input Gain
- Dynamics and mode descriptions
- Compressor
- Compressor modes
- Corrective mode (exponential peak - fast)
- Adaptive mode (exponential RMS - accurate)
- Creative mode (linear peak - slow)
- Vintage mode (adaptive peak - bright)
- Compressor Graph
- Ratio
- Knee
- Gate
- Ducker
- Sidechain
- EQ
- Phase (All Pass Filter) Controls
- Mixes
- Input channel Pick Off points
- Masters Section and Pan Control
- LCD Displays
- Chapter 30. Outputs
- Outputs on Channel Banks
- GUI channel strips
- Master Section on the control surface
- Output metering
- Bus trim (GUI only)
- Compressor (Dynamics)
- EQ (Equaliser)
- Mute, safes, level and solo
- Output channel name
- Output channel source/destination (GUI only)
- Stereo linking
- Output Configuration Patching
- Safes
- Insert
- Output channel delay
- Processing Order
- Mixes
- Masters
- Outputs macro interrogation control
- Flexi-Aux
- Chapter 31. GUI Menu (Side Bar Menu)
- Chapter 32. Configuring a virtual soundcheck
- Chapter 33. Manchino (Multi Edit Page)
- Chapter 34. Update Manager
- Chapter 35. Channel AI
- Chapter 36. Specifications
108 HD96-24-CC-TP User Manual
Solo Hierarchy
Solo signals are divided into ve layers: Input Solo, Aux Return Solo, Aux & Flexi Aux Bus Solo, Matrix Bus Solo and Master Buss Solo. The illustration below shows the
priority of the Solo function. After you have switched layers from the lower to upper levels by cancelling a solo for the upper layer, the previous Solo status of the layer
immediately below will be restored. For example, if you switch layers in the order of:
Input Solo →Aux Return Solo → Flexi Aux & Aux Bus Solo → Matrix Bus Solo → Master Bus Solo, you can then successively cancel the Solo button to successively
restore the Solo status of the previously selected layer.
The solo system add-mode hierarchy works as follows:
The highest level of solos will be the inputs and returns. When active, these will override and inhibit the remaining solo sources (exi auxes, auxes,
matrices and masters).
Within the constraints of the two-level solo hierarchy, only one source can be active on any channel at any instant:
• • Input channels: Input channel <--> Aux AFL <--> Direct out
• • Aux Return channels: Return channel
• • Aux busses: Aux bus <--> Direct in <-->
• • Matrix outputs: Matrix bus <--> Direct in <-->
• • Master outputs: Master bus <--> Direct in <--> Side chain listen
An additional constraint is placed on the side chain listen. This is due to the nature of the DSP, where only one side chain listen can be auditioned at any one time,
regardless of whatever else is active in the same solo hierarchy level.
If an input channel solo is active via a VCA master solo, soloing the input temporarily overrides the VCA master solo. However, soloing a direct input or AFL solo on the
same channel or a side chain solo on any channel, cancels both the input solo on that channel.
VCA Solo
If input and outputs are assigned to the same VCA it is possible to solo it and hear all the contributions together. If a path is soloed within a VCA, when that path is
un-soloed the VCA solo will return. If Solo add mode is engaged only inputs will be sent to the solo bus. If two channels are in a VCA together and the rst is set to
Monitor A bus while the second is set to Monitor B bus. The two channels will still be soloed in the Monitor busses they are assigned to and not merged to the same
Monitor bus.
Solo In Place (SIP)
In the Midas analogue console days, the yellow solo in place button (SIP) would be found with a protective cover over it. It was also known as the ‘P45 button’ (P45
is a UK form given after being red) because if SIP was accidently used in a show, everything apart from the soloed instrument would disappear along with your
mixing career!
Saying that, SIP can be a very useful tool in sound check to solo an instrument or voice while cutting all channels from the main mix (except soloed ones) by pressing a
solo button. SIP lets you check the contribution from soloed channels at the actual levels they occur in the mix, that is, considering the main fader setting.
To prevent accidental SIP activation, the SIP button has a long button press to save it accidentally being turned on.
For SIP purposes, master outputs can be the main master bus.