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
93 HD96-24-CC-TP User Manual
3. There are two lter slopes to choose from for each lter: 12dB/Oct or 24dB/Oct for the HPF and 6dB/Oct or 12dB/Oct for the LPF.
4. In the Equaliser display widget, the HPF and LPF settings will be displayed on screen. They are displayed in purple when active and atten when turned o.
The lters can be altered by touching the corresponding purple dot to change the frequency of the lter.
Note: The frequency for both lters can also be set by using the pop-up rotary by touching the FREQ control display in the Equaliser widget (in between the Filter on
and Filter slope). It can also be locked to the screen. Please refer to the Navigation section on how the pop-up rotaries function.
Input equalisation
To equalise the input signal, use the 4-band parametric EQ, which is situated in the Equaliser section of the channel overview or Equaliser widget. Band 1 and 4
each have a parametric lter option and three specic shelving modes. Visual feedback for EQ is either via Equaliser widget, and channel detail area. In addition, it is
possible to hear changes to EQ in the solo bus before the change is committed to the input or output with the innovative EQ audition mode.
To EQ the input signal:
1. Select the bank you wish to pick a channel to EQ.
2. Select the channel you wish to adjust via the GUI or by pressing the surface SEL button.
3. Navigate to the Equaliser widget either by touching any control in the Equaliser section on the surface or touching Equaliser in the input widget screen. There are 3
buttons to either: Turn the HPF, LPF or EQ on.
4. In the Equaliser section, press the green EQ button to activate the EQ (either on the surface or on screen). The EQ button’s LED will illuminate green when on and
show a green outline when o.
5. In the Equaliser section, adjust the Frequency, Width and Gain control knobs to change EQ parameters as required or, in the Equaliser widget, touch the EQ band
you wish to adjust. To adjust the width of the selected EQ band, use the pinch gesture to increase or decrease the width of the EQ band. A pinch gesture is a
continuous gesture that tracks the distance between the rst two ngers that touch the screen when moving left and right.
6. To Flatten the EQ curve press and hold the red Flatten button in the GUI until the line traces around the outside of the button. Once this two second press has
elapsed the EQ will be reset. All the EQ bands frequency and widths will remain in the same positions, but the gain will be reset to 0db for each band. This atten
function does not aect the HPF and LPF settings.
7. Engage True Audition mode.
Note: EQ Gain, Freq or Width in the Equaliser widget can be set by using the pop-up rotary by touching the corresponding Gain, Freq or Width display in the Equaliser
widget. They can also be locked to the screen if required. Please refer to the Navigation section on how the pop-up rotaries function.
Audition the dierent lters, including the ‘minimum harmonic disruption’ types, by scrolling through them using the Shape button in the Equaliser section or in the
Equaliser widget.
Band 1 HP 6dB, HP12dB, Bell or Shelf lters (Deep, Classic and Warm).
Band 2 Bell with Gain, Frequency and Width controls.
Band 3 Bell with Gain, Frequency and Width controls.
Band 4 LP 6dB, LP12dB, Bell or Shelf lters (Bright, Classic and Soft).
Note: The minimum harmonic disruption lters are bright and deep, which are available for treble and bass, respectively. These lters use psychoacoustic phenomena
to generate steep slopes that sound natural.