User Guide Chapter 1 Introduction and Setup 1 LV1
Contents INTRODUCTION.....................................................................................................................................................6 About Waves eMotion LV1 .................................................................................................................................................................................................... 7 Installation and Setup...............................................................................................
The Patch Grid .......................................................................................................................................................................................................................... 69 Mixer Channels, Mix Busses and Control Groups ................................................................................................................................................................................................................71 Mixer Inputs ....
CHAPTER 4: MIXER WINDOW ......................................................................................................................131 Mixer Layers ........................................................................................................................................................................................................................... 133 Top Bar .........................................................................................................................
Scenes Page ........................................................................................................................................................................................................................... 182 Scenes List .......................................................................................................................................................................................................................................................................
INTRODUCTION Thank you for choosing the eMotion LV1 live mixer from Waves. In order to efficiently set up and use the mixer, please become familiar with the eMotion LV1 manual, which is divided into two parts: • A Quick Start Guide that explains navigation, workflow, and basic controls. It provides what you need for initial setup and basic use. • This User Guide is a complete inventory of the mixer’s controls and displays, along with in-depth instructions.
About Waves eMotion LV1 Waves eMotion LV1 is a software mixer that provides real-time audio mixing and processing for front-of-house, monitor, broadcast, and recording studio applications. A mixer system consists of the eMotion LV1 application, a SoundGrid server, and one or more SoundGrid I/Os. There are three mixer configurations—64, 32 or 16 channels—with up to 8 stereo groups, 16 stereo auxes, L/R/C/M Main busses, and an 8 stereo channel matrix.
About This User Guide This User Guide provides detailed information on all eMotion LV1 functions and controls. Like the mixer itself, the User Guide is organized first by Window, then by Page or Tab, and finally by Section and Controls. Naming Conventions: Window The most comprehensive view (Mixer window, Show window, etc.). Windows are accessed with tabs at the top of each view. Page A subset of a window, usually accessed by a side tab (User I/O Settings, Channels Input A, Scenes, etc.).
Installation and Setup Setting up the mixer consists essentially of these steps. Relevant mixer views are noted here in parentheses: • Set up hardware • Download and install software.
A SOUNDGRID NETWORK CONSISTS OF AT LEAST THESE FOUR HARDWARE ELEMENTS: 1 HOST COMPUTER: Controls the mixer as well as the SoundGrid network that connects all devices. The eMotion LV1 application, plugins, and preset files are located here. However, audio is not processed here. The mixer application and the SoundGrid network software run on both Mac and Windows and can support multiple displays. FOH 2 SOUNDGRID SERVER: The mixer’s “number cruncher.
Host Computer Minimum Requirements Mac OS Windows Model/CPU: MacBook Pro / iMac / Mac Mini with Intel i5 CPU or higher CPU: Intel i3 or higher RAM: 6 GB RAM: 8 GB Operating System: 10.13 to 10.15 Operating System: Windows 10 64-bit Screen Resolution: 1280x768 32-bit Screen Resolution: 1280x768 32-bit Tablets: Windows 10 64-bit with Intel processor Sample Rate Support The eMotion LV1 mixer supports sample rates of 44.1 kHz to 96 kHz.
Connections LV1 can assign and patch to up to 16 I/O devices: any combination of hardware I/Os and drivers. • A hardware I/O device can have up to 128 I/O channels, depending on the model. • Computers using a SoundGrid ASIO/Core Audio driver can be configured for up to 128 driver channels. Use a SoundGrid Ethernet switch and Cat 5e, Cat 6, or Cat 7 Ethernet cables to connect all hardware components. Note which of the host computer’s Ethernet ports is being used for the SoundGrid network.
SERVER REQUIREMENTS All SoundGrid-approved servers will work with the eMotion LV1 mixer. Server performance has a direct impact on processing power and on the number of mixer channels that can be played simultaneously. Check Waves.com or contact customer support to determine which server best suits your needs. DISPLAY RESOLUTION eMotion LV can accommodate one, two, or more computer displays.
Installing Software Create a free Waves account if you don’t already have one (www.waves.com/create-account). This account is used to manage your Waves products and licenses. 1. Register your Waves Products in your Waves account under “Register New Products.” The product serial number (also called a license number) can be found on your purchase invoice, in an email from your dealer, or in an envelope containing the registration form.
Top Bar The Top Bar of the eMotion LV1 mixer is a navigation and management tool visible from all views. From here you can: • Access all windows. • Monitor network and processor status. • Select a channel. • Lock the mixer interface. • Manage sessions and scenes. • Engage talkback and clear all solos.
TOP BAR ELEMENTS NAME This box displays the name of the selected channel. Side arrows move the channel selection higher or lower, one channel at a time. The down arrow opens a drop-down menu used to access and select any channel directly. The Name box background color is the same as the color of the selected channel. PRESETS MENU The Presets menu is divided into two sections that serve different purposes. At the top is the Channel Presets menu section.
Menu Item Description Factory Presets (load) A library of presets supplied by Waves. A factory preset cannot be modified. Instead, open it and save as a user preset. User Presets (load) 17 A list of user-defined channel presets that is saved from within the current session or imported from another. To delete a user preset, hold Ctrl before opening the Preset menu. When then opening the User Preset menu, preset names will be preceded by “Delete.” Select the preset and it will be deleted.
Session Menu Section This menu section is used to manage presets for the entire current session. It is also used to save and load mixer sessions. Export User Presets Creates a file with all user presets for the entire session, not just those of the selected channel. The exported presets are stored as one .xps file that can be saved to other media. Export All Presets Exports a file that contains the presets—not just the user presets—of all channels in the session.
CLEAR SOLO Clears active solos or cues on all tracks. Cues and solos are activated on the Mixer window. Configure Cue in the Cue control page, which is accessed with the Gear button below Clear Solo. Refer to Channel > Cue Section for more about the cue function. TALK Activates talkback. Click on the gear button to access the Talkback configuration page. Refer to Channel>Talkback Section for more about the Talkback function. BPM The value in the box and flashing light indicate the system tempo.
DSP One indicator displays average and peak processing loads. The average value is displayed as a green bar and peak as an orange line. Red indicates that an audio drop has occurred. This may happen for two reasons: Processing overload (momentary or constant) Solution: Disable some plugins Some plugins exhibit a high average/peak ratio. This may cause temporary CPU overloads that result in audio drops. When adding a large number of these plugins, the peak and average indicators will drift apart.
MESSAGES Reports network status. Messages may indicate a sample rate mismatch, a general change in network status, buffer overload, etc. Troubleshoot network and device issues in the System Inventory page (Setup > System Inventory). CLOCK When MIDI control is used, this box can display MIDI time code. LOCK Locks/unlocks mixer surface, I/O routing, and/or plugin parameters to prevent unwanted changes during a live event.
Floating Windows Some Panels can be undocked from their original locations and then moved to anywhere on the screen or to another display: System Inventory The control panel for any I/O device, driver, server, or controller open as a floating window. Plugin Control Panes Click on a plugin icon in a rack to open its control pane. Click the Expand button in the upper-right corner to undock the pane in a floating window. When another plugin is undocked, the current plugin window will be redocked.
Chapter 1: SETUP WINDOW T he Setup window provides the tools to configure the mixer and determine its behavior.
System Inventory Page The System Inventory page is used to assign and manage I/Os, servers, drivers, and controllers. The top portion of the page deals with network status. Devices are assigned in the racks below.
System Inventory Page Displays and Controls This section describes the controls and menu items of the System Inventory page. It is followed by examples of how to use the System Inventory page in order to set up the mixer (Setup > Configuring a Basic Mixer Setup). 1. Quit Closes the session and quits the application. When the mixer is in full-screen mode, use this button to exit the application. When it is not in full-screen mode, closing the application windows will quit the mixer.
Sample Rate Controls 6. Sample Rate Master/Slave Status Selector Controls whether the mixer is the sample rate master or a slave. As such, it determines how the sample rate of a system is established. 7. Sample Rate Selector Menu Sets the system sample rate when the mixer is the sample rate master. The Sample Rate window displays the sample rate of the system. The menu is disabled when the mixer is a sample rate slave, since it can set the sample rate only when in the master mode.
Device Racks: Configuring and Managing Network Devices Device Racks are used to assign and control the hardware and software I/Os, servers, and controllers available on the network. Use these to set up a new configuration or to modify an auto-configured setup. Racks A and B—I/O Devices Racks A and B assign hardware and software I/O devices to the mixer. Racks A and B can be used interchangeably. A rack consists of eight slots, each of which can hold one I/O device.
I/O Device Racks Displays and Controls Slot sequence number Device name Device menu access Device status Clock source Sample rate Clock master indicator Device’s control panel button Identify hardware Firmware status and re-flash Enable sharing Offline device Shared device Shared driver There are several status indicators and buttons on the icon itself and just below it. The color of the text in the slot indicates the master/ slave status of the device.
Indicator Possibilities Function Slot Sequence # Rack A 1–8; Rack B 9–16 Indicates the rack slot number. I/Os appear in the Patch window in this sequence. Device Name Text entry The device product name followed by a number is the default name. Change the device name by double-clicking on its Name Box. Devices Menu Drop-down menu Used to add and remove devices from the slot and to set the device as clock master. Device Status On Device is active. NA Device is unavailable.
I/O Devices Menu Items Once an I/O device has been assigned to a rack slot, additional menu items are available. Menu Item Set Master Possibilities A list of all devices that can be used as a clock source for the local SOE network. Function Share Check/Uncheck Allows sharing of I/O channels on this device with other systems. Share Preamp Control Check/Uncheck Allows remote users to control the preamps of the shared device.
These menu items apply only to drivers. Menu Item Possibilities Function Set Main Driver Assigns main driver. Assigns this as the main driver. The second driver serves as a backup. Driver Channels Range: 32–128 channels Sets the number of channels assigned to the SoundGrid ASIO/Core Audio driver. More driver channels can increase network load and may require more buffering. Default: 32 channels Driver Network Buffer (Values in samples/milliseconds) 44.1 kHz and 48 kHz: 104/2.2; 288/6.0; 512/10.
I/O Sharing An eMotion LV1 system consists of a host computer, an Ethernet switch, at least one SoundGrid server, and a least one I/O. These elements communicate through a SoundGrid SOE network. All connected I/O devices within this system can be assigned and patched to the eMotion LV1 host. Single freestanding eMotion LV1 system: All I/O devices, servers, and local drivers in this SOE network are seen in the System Inventory.
SYSTEM INVENTORY IN SUPER SYSTEMS All devices in a super system—whether assigned to a host or not—are displayed in the Device menu of each independent system’s Inventory (left). There are five I/O devices, none of which have been assigned to a system. Each connected host’s local driver is also shown. A device assigned to a host’s inventory is the manager of the device. When a device is removed from a host, it becomes Free and it can be assigned by any other host, which in turn becomes its manager.
This Device menu illustrates numerous device assignments, unshared and shared. Font style and shading indicate the type of assignment. Italics indicates that the device is share enabled. Unassigned devices Once a device is assigned, its name is followed by the name of the host to which it is assigned.
CLOCKING CONSIDERATIONS When a device is shared by two systems. both systems must be locked to the same clock master. If a client system assigns a shared device that’s part of a system with a different clock source, something must be done to rectify the difference. When assigning a shared device whose clock source is not the same as that of the client system, this prompt will appear. Click OK to set the clock of the client system as your system’s clock.
A shared device can be a slave or the clock master of in its own SOE network, indicated by the M on the shared device’s icon (left). On the right, the device is still the SOE master of the system it’s being shared with but is a slave within its own system. When devices from more than two systems are assigned to a system’s inventory, all systems must be locked to the same master clock device.
Patching Shared Devices Patching Shared Input Devices When a device is shared, all of its inputs are available to all users. The shared device appears in the Patch window with the non-shared devices. PATCHING SHARED OUTPUT DEVICES Once assigned, a shared I/O device appears in the client’s Output Patch window. “IO Sharing, Remote Device” is shown on its icon. Patching shared I/Os follows the same conventions as patching unshared SOE devices. There are, however, a few considerations when sharing devices.
SHARED AND UN-SHARED DEVICES IN THE PATCH B-IOS, owned by LV1 #1 LV1 #2, using shared device B-IOS Device B-IOS appears as an assigned device in the output patch of LV1 #1 (left) and as a shared remote device in LV1 #2 (right). When an output patch is made in either system, the corresponding I/O channel in the other system is colored orange to indicate that the patch is in use.
If the manager of a device patches to an I/O channel that’s already taken by a client, the preexisting client patch will turn red. The client is no longer patched to that I/O output channel. Patching shared outputs in the Mixer and Channel windows follows the same rules as in the Patch window. Devices shared by other system in the super system are indicted with . A warning alerts the client that the original patch has been disabled.
Manager Deselect the Sharing icon, or uncheck Share in the Device menu, to end sharing for a device. If you attempt to remove a device that is being used by another system, this prompt will appear. You will not be able to un-share the device until it is not patched by other clients. If the Sharing Host Becomes Unavailable If the manager of a shared device fails (e.g., Ethernet connection is broken, computer stops working, computer is taken away), the shared device will continue to function.
Device Management Persistence A SoundGrid host’s session includes a full description of each device in its inventory (e.g., MAC address, clock, preamp settings). When a device is shared, the session also records whether or not this host manages it. The host sessions in a super system each keeps track of its own saved device management status. Together, these sessions recall the management status of the entire system at the last working super session.
Servers The Servers rack is used to assign, remove, and configure a SoundGrid server. The server’s CPU temperature is shown on the icon. ` Menu Item/Indicator Possibilities Devices Server Network Buffer Information Drop-down menu (samples/milliseconds) 40/0.8 56/1.2 80/1.7 112/2.3 160/3.3 224.4.7 (N/A) Remove Server Status Indicator 42 Function Choose among the servers on the SoundGrid network. A server that is assigned to another host is unavailable and grayed out.
DSP Meters The meter bars on a server icon indicate DSP usage of each of the server’s cores. There is one meter per core. The solid bar areas display average DSP use per core: The yellow lines show peak use, as indicated in the percentage display above the line. Certain plugins can exhibit a high average/peak DSP ratio. This may cause overloads (momentary or constant) that result in audio drops. When adding a large number of these CPU-hungry plugins, the peak and average indicators will drift apart.
External Control Devices Use the Controls rack to assign external controllers to the mixer. Assigning controllers is very similar to assigning I/O devices and servers. Indicator/Menu Item Possibilities Selected Control Category Function Displays selected protocol. Controller Device Status Displays presence and status of device N/A > Device corresponding to the selected protocol is not present or not functioning properly. On > Device is present and operational.
SAMPLE RATE MASTER VS. SAMPLE RATE SLAVE The clock master device sets the sample rate for all devices in the system—everything locked to its clock must adjust to its sample rate. Although the clock master distributes clock at a specified sample rate throughout the system, it does not necessarily determine what that sample rate will be. This is fixed by the sample rate master, which can be the clock master, or the mixer, or another system that provides clock.
2. Sample Rate Selector Menu Sets the system sample rate when the mixer is the sample rate master. The Sample Rate window displays the system’s sample rate. The menu is disabled when the mixer is a sample rate slave, since eMotion LV1 can set sample rate only when in the master mode. The sample rate of the clock master device can always be set from its control panel, whether the mixer is in Sample Rate Master or in Slave mode.
Routing View Panel The Routing View panel shows the status of network connections. Each row represents a one-way patch between two devices or between a device and the main server. In this example there are four network nodes: • IOS-1 (I/O) • IOC-1 (I/O) • Host computer driver • SG server 2 There are round-trip connections between IOS and the server, IOC and the server, the driver and the server, and a device-to-device connection from IOC to IOS.
Use the Routing View Panel, in conjunction with the CPU and Memory indicators in the Top Bar, to isolate connection problems stemming from errors or too much traffic. If you’re experiencing audio drops, or you see CPU overs in the Top Bar indicator, check here to troubleshoot the problem. Some examples: • A high CPU average load value means that the network line carrying the connection may be reaching its limit and dropouts might occur.
Using the System Inventory Page This section demonstrates how to set up a basic mixer system and how to work offline without a server or I/Os. Configuring a Basic Mixer Setup Below is an example of an eMotion LV1 mixer setup. This configuration provides two I/Os for stage and one I/O for FOH and PA. There is no real difference between configuring a small system or larger one. It’s just a matter of scale. Refer to the eMotion LV1 Quick Start Guide for an overview of system setup. 1.
2. Open Network Connection Open the System Inventory page. Use the Network Port drop-down menu to select the host computer Ethernet port that is connected to the SoundGrid network. It is important that this port is used by the SoundGrid network only. When the correct port is selected, the Network Link will read Up and the Speed will be 1Gbps. Since there are not yet any I/O devices assigned to the mixer, the SG and Sample Rate indicators will be red, indicating that the mixer is not yet locked. 3.
ASSIGNING I/O DEVICES MANUALLY a. Click the arrow in the upper right corner of an I/O device rack slot to open the Devices menu. All devices available to this LV1 are displayed here. Devices that are currently unavailable are grayed out. FOH Stage Assign hardware and software devices to any slot in Racks A or and B. The sequence is unimportant. b. Select an available device and it will appear in the rack. If this is the only device in the rack, it is by default the clock master and its icon text is blue.
FOH Stage I/O #1 SOE clock slave I/O #2 SOE clock master I/O #3 SOE clock slave d. If you need to adjust preamps or otherwise configure the I/O, click the gear button beneath the icon to open the I/O device’s control panel. The control panel of any assigned device (i.e., hardware I/O device, driver, external controller) will open in a floating window, which can be repositioned. Up to five floating windows can be displayed simultaneously. Close the window to close the control panel.
Working Offline The mixer can be completely pre-configured or modified offline. Virtual devices can be assigned to the racks, allowing for detailed preparation of patching, channel settings, plugins presets, mixer configuration—the entire system—without the hardware. A session prepared offline—whether on the host computer, a laptop, or a tablet—is a complete session and is fully operational when a server and I/Os are added. a) Load the session you wish work with, or start with a blank session.
Mixer Settings Page Use the Mixer Settings page to establish system-wide parameters and define how new sessions are configured.
Mixer Configuration The Mixer Configuration section sets the size of the mixer. The mixer can have 16, 32, or 64 channels, with 8 stereo groups, 16 stereo aux channels, an L/R/C/M main buss, and an 8-channel stereo matrix (depending on the selected configuration). The maximum mixer size is license dependent. Refer to Appendix A of this manual for details concerning mixer licenses and configurations.
Latency Optimized DSP Optimized t = Determined by Network Server Buffer only t = Server Network Buffer + sum of all B paths Example (Latency Optimized Mode) I/O Input Group Aux Monitor Latency = 0 samples I/O In the Latency Optimized mode, processing takes place in a linear manner. All processing must be completed within one buffer cycle. There is no added latency in mixing, but plugins that exhibit large processing spikes can delay the entire processing chain beyond the limits of the network buffer.
Output Routing Latency Sets alignment behavior of output I/Os. Control Action Entire Mixer Aligned Aligns the entire mixer to one common delay. There will be no separate delay groups. Align by Buss / Delay Group Enables up to 16 user-definable delay groups, each of which can have separate delays. Plugin/buss delay compensation is calculated automatically. See Appendix E for more on delay compensation. Individual plugins can be excluded from compensation.
Auto-save Options Every X Minutes On Scene Update Auto-save on/off, save interval: 3–30 minutes. Auto-save each time a scene is stored, recalled, or modified. Auto-save files are not deleted; new saves do not replace old saves. Delete session files using the host computer. Lock Mixer The entire mixer surface—or selected mixer actions—can be locked to prevent unintended structural changes in a session, such as adding, removing, or copying plugins, or changing external patches.
TROUBLESHOOTING SECTION Enable Logging eMotion LV1 constantly logs its activity for purposes of troubleshooting. Click on the Logs button to access the log files. Under certain circumstances, Waves technical support may ask for more comprehensive records for enhanced troubleshooting. Select Enable Logging to create verbose records. Deselect for normal operation. Show Patch Warnings When selected, a warning is issued when any routing change is made in the Patch window.
User Interface Settings Page The U/I Settings page is used to control meter behavior and to create assignable shortcut keys.
Input Meter Selects the metering point at which input level will be measured. Options: pre-digital or post-digital trim Output Meter Separately selects output metering points for channels, groups, aux, and masters. Options: Pre-fader or post-fader for each category Delay Units Sets the unit of measure for delay-related displays. This choice is provided for convenience only and does not affect delay processing.
Latch ALT/CTRL Modes When selected, the ALT and CRTL switches on the Mixer keyboard are in latched mode. Once clicked on, they remain engaged until clicked off. When not selected, these switches are momentary. Latch Mixer Modes Prevents the Mode selection from changing when you change the Mixer Layer selection. Aux Cue on Flip Sets the behavior of the Aux mix track Cue output when the mixer is in the Aux Fader Flip mode. On: The Aux mix output is assigned to the Cue buss for quick monitoring of the Aux mix.
User-Assignable Menu Items 63 Menu Item Section Function Save Session Session menu Saves current mixer condition. Overwrites existing session. Load Session Session menu Opens a navigation for selecting a session to load. Save Channel Preset Session/Preset menu Opens a navigation for saving a preset. Copy Channel Preset Session/Preset menu Copies channel preset to clipboard. Paste Channel Preset Session/Preset menu Pastes copied preset information.
Menu Item 64 Section Function Tap Tempo Setup > Mixer Settings Tap the recall button at the desired tempo. Result is displayed in the Tempo section of the Mixer settings page. Mute Channel Channel/Mixer windows Mutes/unmutes a specified channel. Plugin Bypass Channel/Mixer windows Bypasses/un-bypasses a specified plugin. Flip A/B Input channel Channel/Mixer windows Switches between Inputs A and B Talk Top Bar Activates Talk key.
Chapter 2: PATCH WINDOW T he Patch window establishes connections within the mixer, between the mixer and I/O devices, and between assigned devices on the SoundGrid network. It provides a comprehensive, detailed tool for patching the mixer and presents a wide overview of the mixer’s condition so that an engineer can quickly understand its configuration.
Patch Window Sections The Patch window is divided into two functional sections that help you patch between channels, busses, I/Os, delay groups and mute groups. A Frame for Filtering Tools: This frame contains the tools used to determine which channels and devices are needed in the patch grid to execute a particular patch. B Patch Grid: This is where the channels are patched. The grid changes in functionality and appearance based on patch view and filtering.
Filtering Tools Since the Patch window can connect “anything to anything” within the mixer and between any assigned devices on the SoundGrid network, the number of potential patches is very large. To make patching manageable, sources and destinations are filtered according to the purpose of the patch. 1. A view is established using the Patch View selector. This filter creates a framework that shows the correct category of channels or devices needed to make a patch, based on its purpose.
Patch Views Input Output Internal Device to Device Delay The Patch View Selector filters the types of channels to display, based on what kind of patch is to be performed. Once a patch application is chosen, the Selector presents a patch grid with the correct categories of sources and destinations needed to execute those patches.
The Patch Grid Once a patch view and a grid filter are selected, the relevant channels will be displayed in rows and columns. This (the Patch Grid) is where filtered channels, busses, and control information are patched. PATCH GRID ZOOM TOOLS Zoom in and zoom out buttons enable detailed views or broad overviews of the patch grid. GRID ROW AND COLUMN INFORMATION Row and column names and other information are displayed in the row and column headings.
I/O DEVICE CHANNELS Hardware and software I/Os are represented by icons, which can appear in the horizontal and/or vertical grid filter bars, depending on the patch view. Click on a device icon to display its I/O channels, along with other applicable information. Any number of available I/Os can be expanded simultaneously to reveal their channels.
Mixer Channels, Mix Busses and Control Groups MONO AND STEREO CHANNELS • Input channels can be changed from mono to stereo by double-clicking on the M or L/R buttons. When a mono channel is flipped to stereo, its name is shown in both the left and the right sides. • When a channel is flipped from stereo to mono, the left channel patch becomes the mono patch. • Mono/Stereo status reflects the current state of the channel and can be changed only on Input channels.
SELECTED CHANNEL A blue highlight identifies the selected channel, whose name is shown in the Name box in the left corner of the Top Bar. PATCH POINT A patch is created at the intersection of horizontal and vertical grid lines. Select patch points one by one, or draw a straight line vertically, horizontally, or diagonally. Click again on a patch to remove it. • A valid patch is blue/green. • A red patch indicates that the device is not available.
Mixer Inputs This is the only patch view where signal flow is from top to left (I/Os on top to input channels on the left). To avoid confusion, it is convenient to name the channels before patching. You can create and save templates to streamline setup. Templates can store all channel, I/O, patching and processing information, which can later be modified if needed. Refer to the Show chapter of this user guide to learn about templates.
Mixer Outputs A mixer channel or buss can be patched to any available I/O that has been assigned to eMotion LV1. The Output view has two grid filters: Channel Direct outs and Mix Busses out. Mixer outputs are displayed on the left, assigned I/O device channels along the top. Each channel or buss can output from one of four sources, indicated by the multi-colored buttons.
Internal Routing This window assigns channels to all busses and control groups that are available in the patch. These patches can be audio group assignments, such as Groups and Mains, or control assignments, such as Mute groups and Links. In this mode there is no patching to outside devices. The scope of these internal assignments is set in the Mixer Configuration window (Setup > Mixer Settings > Mixer Configuration). Larger mixer configurations also include more groups, aux channels, and busses.
Device-to-Device The Device-to-Device patch view is like a network patch bay. It enables all devices assigned to the mixer to patch between each other. This view does not include patching to and from the mixer. DEVICE-TO-DEVICE PATCH BEHAVIOR All I/O devices that are assigned to the LV1 inventory appear in this patch view. A device can patch to any other assigned device, but not to itself.
DELAY GROUP ASSIGNMENT Delay groups are collections of I/O device channels whose timing can be controlled as a unit. These are not audio busses, but rather a means of managing the delay of one or more grouped I/Os. A delay group typically consists of several I/Os. An individual I/O can belong to only one delay group. DELAY GROUPS SERVE TWO FUNCTIONS— • Coordinate plugin and buss latency compensation to busses routed to selected I/Os. • Apply the same delay to a group of I/Os.
Chapter 3: CHANNEL WINDOW T he Channel window presents a comprehensive view of a selected mixer channel and provides control over each channel parameter.
CHANNEL WINDOW OVERVIEW The entire chain of the selected channel—input and preamp control, plugin processing, aux sends, routing, and outputs—is addressed in this window.
Channels and Presets The selected channel is focused in the Channel mixer. The selected channel name is always shown in the Name box on the left side of the Top Bar. To name a channel, double-click on the box. The channel name can also be changed in the Mixer and Patch windows. A channel can be selected in two ways: 1. Mixer window: Touch a fader or channel strip. The channel strip becomes highlighted, indicating that the channel is selected. 2.
Factory Presets (load) A library of presets supplied by Waves. A factory preset cannot be modified. Instead, open it and save as a user preset. User Presets (load) A list of user-defined channel presets, saved from within the current session or imported from another. These presets load all channel parameters. To delete a user preset, hold Ctrl/Alt before opening the Preset menu—preset names will be preceded by “Delete.” Select the preset and it will be deleted. This cannot be undone.
Copying Channel Information Use the Preset menu to copy an entire channel, or specific channel settings, to another channel. COPYING CHANNELS WITHIN A SESSION 1. Select a channel and choose Copy from the Preset menu. 2. Select the target channel. Click on Paste. 3. Select what to replace and what to leave unchanged. Choose Select All to paste all channel settings. 4. Select the import parameters and click OK.
COPYING CHANNELS BETWEEN SESSIONS Channel Copy/Paste is used to duplicate channel presets within a session. To copy channel settings between sessions, use Save to File to create a channel preset file. This file can be saved at any location, including removable media. Select a target channel and choose Import from File. This replaces all channel parameters. It does not alter the number of input channels.
Channel Window Sections The Channel window is divided into sections that represent the signal flow through a selected mixer channel. Workflow from section to section is generally left to right. 1 Input Manages channel input: source, preamp control, digital input gain, high pass and low pass filters, input delay. 2 Plugin Rack Assigns, removes, and controls up to eight plugins per rack. 3 Main Control Section A consolidated view of principal channel controls.
Input Section The Channel Input section patches outside sources to Input and internal busses (Group, Aux, Matrix channels). It is also used to link together mixer controls (Link/DCA). Input section function and appearance differ between input, mix, and control channels.
1–CHANNEL NAME AND SELECTOR (TOP BAR) The channel name is displayed here. Double-click on the name to change it. The name can also be changed on its channel strip in the Mixer window or in the Input page of the Patch window. Use the side arrows to move between adjacent channels or the drop-down menu (down arrow) to select a channel directly. Since the name box is part of the Top Bar, it can be viewed from all mixer views.
3–A/B INPUT SELECT The mixer has two independent sets of inputs: A and B. These inputs can use the same I/O devices and channels or use different ones, as long as all I/O devices are in the system inventory of this eMotion LV1. Define input sets in the Patch page. Refer to Patch > Patching Mixer Inputs. Options: Input A or B Channel input choices made in this menu are reflected in the Patch window. Patches made in the Patch window appear here.
6–PREAMP ANALOG GAIN Adjusts the analog level of a digitally controlled preamp. Unlinked stereo L/R channels can be controlled separately, as can two mono inputs from different sources. Knob position is displayed in the value box. Preamps can also be controlled from their respective control panels, which are accessed from the System Inventory page.
12–INPUT DELAY Sets the user-defined delay between input sources. Primarily used to align two or more microphones that are at different distances from a sound source. Input delay is not associated with plugin/buss delay compensation. Options: on/off, default: off, Range: 0–250 samples 13–CHANNEL NAME AND SEQUENCE NUMBER The Channel ID Box displays the user-defined name of the selected channel, as well its channel index number within the layer.
Controlling Preamp Gain The Preamp section is used to adjust the analog (hardware) gain and the digitally adjusted output level of the I/O device’s preamp. There are two modes for controlling preamp gain: Preamp and Local. Select a mode with the button above the preamp control knob. Preamp mode (left) adjusts the preamp’s analog gain, just like the preamp gain control in the device’s control panel. Preamp analog gain value is displayed above the knob. .
BEHAVIOR IN PREAMP AND LOCAL MODES ON SHARED DEVICES Preamp Mode • Every user operating in the Preamp mode has direct control of preamp analog gain. • When preamp gain is adjusted on one system, it will change correspondingly on all systems. • When a shared preamp is switched from Local mode to Preamp mode, its gain setting will take on the V-Gain level. Local Mode • Changes in preamp analog gain (Preamp mode) will not affect the channel input gain of any user who is operating in Local mode.
USING LOCAL MODE WITH NON-SHARED DEVICES Local mode is not only for using IOs that are shared between users. It can help when moving between setups (as described above) or used to maintain a preamp sweet spot in critical recordings while adjusting gain for monitoring. Input Section for Mix Channels A mix channel gets its input from its associated mix buss. The channels that route to this buss are mixed together and end up in the mix channel for processing and for further assignments or sends.
AUX/EFX AND AUX/MON BUSSES Sources: Input channels, groups, and mix copies An aux channel input can accept a mix as an input, whether from any Main mix channel or from another aux channel. Select Copy Mix From to add that mix to the input of the EFX or Mon aux channel. CUE Sources: Channel, Group, Aux, Main, Center, Mono, Matrix, and Alternate Input This Input list reflects the Mixer channels whose Cue/Solo buttons are activated. Deactivating a channel strip Cue button removes it from the Cue Input list.
STEREO/MONO FLIP To toggle a channel or buss between mono and stereo, open the Input List panel in the Input section. Click Add and choose “Flip to Stereo” or “Flip to Mono” from the drop-down menu. You can also toggle a mixer channel between mono and stereo by clicking the input selector at the top of its channel strip in the Mixer window.
Plugin Rack Section The Plugin Rack section is a chainer that hosts up to eight plugins per channel. Plugins inserted in this rack are also shown in the Rack section of the Mixer window. Signal flow is from top to bottom of the rack. A plugin rack is stereo or mono, according to the channel state. If a mono-to-stereo plugin is added to a mono rack, the rack will be stereo from that point on in the signal flow. Drag a plugin up or down to change its position in the rack signal flow.
Adding and Managing Plugins Adding, removing, disabling, or moving a plugin changes the structure of the rack, which may result in a brief audio mute. Do not make these changes when an audio interruption is unacceptable. Wait until there is a pause in the performance. The Plugin Menu The Plugin menu is used to insert, remove, assign, and manage a selected plugin. It is also used to copy plugins and plugin parameters between racks and between rack slots.
Plugin Menu: Plugins Section These menu items add, remove, and manage plugins. PLUGIN LIST The Plugins List is a multi-level drop-down menu that lists all available plugins. Plugins are organized by category. If there are many plugins in a category (typically EQ or Dynamics), the plugin list will be divided into pages. This avoids scrolling through long submenus. Click on a plugin name, and its icon will appear in the selected rack slot. Unauthorized plugins are not displayed.
STEREO-TO-MONO COPY/PASTE Copy a mono plugin module to a stereo channel and the plugin becomes a stereo module. The mono plugin’s parameters will be applied to both sides of the stereo plugin, unless the stereo plugin has provision for split/linked processing. In such a case, the mono plugin parameters will be the settings for the left channel. If a stereo plugin is moved to a mono channel, then the settings of the left stereo channel become the mono parameters.
UPDATE PLUGIN STATE TO SCENE(S) Updates the current plugin’s settings in selected scenes. Choose the scene(s) you want to update. Plugin Menu: Latency Section LATENCY Indicates the delay introduced by the plugin or external inserts. RACK LATENCY Indicates the total latency of all plugins and inserts in the rack. If no latency is declared by any of the plugins in the rack, both sections will be grayed out.
If the total track latency exceeds 4000 samples, a warning is displayed at the top of the rack. The destination track may not be able to compensate for such a large latency. eMotion LV1 latency compensation is discussed in detail in Appendix E. EXTERNAL INSERTS You can add external inserts to a plugin rack. An external insert follows the same routing path as plugins and can be moved up and down the rack to change its position in the processing chain. Follow these steps: 1. Choose a rack slot. 2.
EXTERNAL INSERT LATENCY CALCULATION The latency of an external insert is determined by its path, which depends on the kind of processing carried out. The diagrams below illustrate how latency is calculated in three different situations. 1: PROCESSING WITH AN EXTERNAL DEVICE An external insert is sent to and from an external device, via one or more SoundGrid I/O devices. 2: SENDING TO A DAW FOR PROCESSING A DAW, which is typically used for playback, can be in the LV1 host computer or in another host.
RECALL-SAFE PLUGIN Prevents plugin parameter changes during scene recalls. In this mode plugin parameters are unaffected by scene changes, even if the plugin is within the scope of a scene change and has not been set as recallsafe in the Show window (see Show window > Recall Safe). A plugin that is recall-safe is noted with an orange/brown Safe indicator. Scene changes do not alter rack structure (e.g., add, remove, or move plugin).
Plugin Pane This view shows a plugin’s regular user interface in a floating window. All plugin controls are displayed here and can be accessed by mouse or touch. Certain plugin interface graphics have been modified to fit the Plugin Pane. Open the Plugin Pane by clicking on its plugin icon. Use the Touch-and-Slide bar at the bottom of the window for easier manipulation of a selected control.
Floating Plugin Pane Windows You can undock the plugin pane window. It can then be positioned anywhere on your displays. Click the Expand button in the upper right corner to undock the window. When another plugin pane is undocked, it will become the front-most window. Click on a plugin’s icon in the rack to bring its floating pane to the front. Pin the window to keep it in front of all other windows. IN bypasses or unbypasses the plugin. Close a widow to return the plugin pane to its docked position.
Main Control Section If you are in the Plugin Pane view, click on the “Back to Main” button to open the Main Control Section. The Main Control Section enables you to view and control important plugin parameters. A compatible dynamics processor, a multiband EQ, and an HP/LP filter can be assigned to these controls. Controls in the Main Control Section map to their plugin equivalents in the plugin pane.
Assigning a Plugin to the Dynamics, EQ, and Filter Controls Plugin assignments are made in the Plugin menu. If a plugin is already assigned to a set of controls, then the menu item will read “Unassign [category].” If a plugin is not assigned, select “Assign [category].” One plugin of each category (filter, EQ, dynamics) can be assigned at the same time: • A plugin will be assigned automatically if no other plugin of its category is present in the rack.
Dynamics Mapping in the Main Control Section The Main Control section provides control over each section of a dynamics plugin processor. Threshold, ratio, makeup, and other critical parameters are mapped to dedicated controls. Other processing adjustments are made in the plugin pane. Display and controls vary by plugin. This example shows an eMo D5 Dynamics processor mapped to the Main Control section.
EQ Plugin Controls in the Main Control Section Assigned EQ plugin controls are mapped to the Main Control section. Mapping may vary from one EQ plugin to another. 8 6 7 1 Filter type select 2 Q adjust 3 Band gain adjust and value box 4 Frequency adjust 5 Band on/off 5 6 EQ graphic display and control (L) 4 7 EQ graphic display and control (R) 3 8 Left/right channel linking 2 1 EQ Controls Mapping varies by plugin. 1. Filter Type: Selects between four filter types.
4. Frequency Adjust Displays the center frequency of the band. Set gain by moving the graphic marker in the display, clicking on the value box and sliding vertically, or entering a number in the box. 5. Band On/Off: Depending on the band-linking setting, this on/off toggle affects the left, right, or both channels. 6. EQ Curve and Markers: Graphic display and control, left. 7. EQ Curve and Markers: Graphic display and control, right. 8.
Filter Controls (Located in the Input Section) An assigned filter is controlled from the Channel window Input section. In this example, an eMo F2 filter is mapped to the Input section and its graphic display is shown in the Main Control section. Mapping and graphics vary among plugins.
AUX/EFX and AUX/MON Sends Section The Aux Sends section is used to send a channel’s signal to an auxiliary buss while providing a dedicated set of gain and pan controls for that specific route. This is independent of the channel’s main output and pan. These auxiliary busses converge in Aux channels, which can serve many functions, such as effects or monitor mixes.
In this example, you are controlling the FX2 buss and sending to AUX/FX 1–8. Note that the sends for AUX/ FX 1 and 2 are not available, since buss FX2 cannot send to itself or to an earlier index (i.e., to AUX/FX 1). However, you can send FX2 to any higher index: AUX/ FX 3, 4, 5, etc. This rule is the same for AUX/MON– AUX/MON sends. When sending signals within one buss (e.g., FX to FX or MON to MON), latency increases in the Aux buss that you are sending to (not the one you are sending from).
Aux faders and panners are color-coded to match the INP/PRE/PST/PSP source selection. The function of the aux panner depends on the format of the source channel and the aux channel, as well as the send source selection. When the source fader is at minus infinity and the send is switched off, moving the fader will turn the send on once again. We assume that if you move the fader you likely want to turn on the send. This saves a step.
Controlling Aux Mixes from the Stage On-stage musicians can control their own personal monitor mixes from their iOS and Android mobile devices over Wi-Fi, using the MyMon Personal Monitor Mixing app. MyMon’s faders enable artists to control the EFX/Monitor sends from each channel to the selected Aux buss. One eMotion LV1 can connect up to 16 devices (depending on LV1 configuration). This gives more freedom to the musicians and takes some heat off FOH engineer.
AUX SENDS PAN/BALANCE/ROTATE Mono Panner/Stereo Balance Knob When a mono signal is bussed to a stereo channel, rotating the panner causes a gain decrease in one channel and a corresponding increase in the other. This is classic panning. When the panner is used on a stereo channel, the source moves right or left, changing its internal balance and imaging. Left and Right Panners The panners set the pan values of the left and right channels independently.
Channel Output Section A channel can output to any of the main outputs and to all available I/Os. It can be assigned to mix groups, mute groups, matrix, and Link/DCAs. I/O properties, such as signal source, trim, and delay group assignment are set here. Output sections are similar for all channel types.
MAIN OUTS/INTERNAL ASSIGNMENT SECTION 1. 2. 3. 4. 5. 6. Access direct output section The direct output section is used to assign I/Os to the channel. It is also used to assign selected I/Os to delay groups, trim each I/O, and select its source. Assign channel to groups A group is used to create a submix of several channels into one. This group can be processed and mixed with other channels before being sent to the main mix. Select GRP 1–8 to establish an assignment.
7. 8. 9. Value box Indicates the value of the selected control. Panner/Balance/Rotator control: Mono panner position, stereo panners, stereo width, stereo rotation value. Fader: Position is shown then when the fader is touched. Peak level indicator Displays channel peak level and clipping. Clip threshold, clip hold, and peak hold are set in the U/I Settings page (Setup > U/I Settings > Peak and Clip).
14. Cue/Solo button Activates Cue or Solo. When in the Cue mode, the Cue button sends selected channels and busses to the cue buss. In Solo mode, the Solo button activates Solo-in-Place mode for the channel, muting all other channels. Cue assignment stays active when the channel is muted. Cue/solo behavior is set in the Cue control page of the Channel window, which is easily accessed by pressing the gear icon under the “Clear Solo” button in the Top Bar.
16. Assigned I/O List I/Os patched to the channel output are shown here. Click on an I/O to select it for delay group assignment or trim adjustment This list is identical to the buss Direct Out drop-down menus on mixer channel strips. 17. I/O delay Displays the user-defined delay of the selected I/O. Also used to set the delay of an I/O or a delay group. Delay value is displayed in samples. Refer to Appendix E for a detailed description of eMotion LV1 delay management. 18.
Cue The Cue function enables auditioning/monitoring of a channel or buss. When the Cue/Solo button is pressed on a channel or buss, that source is sent to the cue buss and then can be sent to an I/O for monitoring. When Cue is not pressed on any channel, the cue buss takes its input from an alternate source, typically the main buss. A muted channel will still send its signal to the cue bus. The Cue channel provides all the functions of other mix busses, including a plugin rack.
INPUT SECTION A D B C A. Open List: Opens the cue channel assignment panel. Any mixer channel or buss whose Cue button is activated appears in this list. Assignments can also be made from the Input List. Click Add to open a drop-down menu for input assignments. B. Alternate Input: This input serves as a fallback input to the Cue buss when no other busses are assigned. Any channel or buss can be selected as the alternate input. The default assignment is Main L/R. C.
CUE PAGE PLUGINS RACK The Cue plugins rack holds up to eight plugins. There is no Main Control Section on the Cue Channel page; plugins are controlled directly on the plugin pane. Refer to Channel Window > Plugin Rack Section to learn more about using the plugins rack. CUE/SOLO MODE SELECT Toggles between Cue and Solo-in-Place modes. Cue Mode: The cue signal is sent to the Cue buss for monitoring. Main mix outs are not affected.
Talkback The Talkback function sends the signal of an assigned I/O to selected busses, which are then routed to I/Os. Talkback is used primarily to communicate between the operator and the artists or staff. It can also be used to distribute a reference signal for calibration or to check that stage equipment is working properly. Click the Gear icon under the Talk button on the Top Bar to access the Talkback channel page. This button is not latching.
INPUT SECTION The Input section of the Talkback channel patches to any hardware or software I/O that’s assigned to the mixer. It can control preamp analog level, 48v, and phase in the same manner as Input channels. The section includes input meters and peak value indicators, as well as input trim controls, assigned filter adjustment, and delay control. PLUGINS RACK The Talkback channel accepts up to eight plugins.
Matrix The matrix is used to create up to eight alternate or zone-specific mixes and to apply independent processing per zone. All mixer busses can be sent to Matrix channels and each Matrix channel can have up to twelve channel assignments. Navigate to a Matrix channel to assign and control sources.
INPUT SECTION Up to 12 channels or busses can be assigned to a Matrix channel. Matrix inputs can be assigned in a number of places in the mixer: • A Channel’s output section • The Route mode of the Mixer window • The Internal assignments page of the Patch window Assignments made from these sections default to the post-pan source. The source of an assigned input is noted next to the channel name.
PLUGINS RACK Up to eight plugins can be added to each Matrix channel. There is no Main Control section in the Matrix page, so plugins must be adjusted in their respective plugins panes. BUSS LEVEL CONTROLS Each buss has a strip with a fader, a peak level indicator, and a mute. BUSS NAME ON FADER The name of each buss strip matches a name from the list in the Input section. OUTPUT SECTION This section is used to patch to I/Os and assign delay groups. Add opens a drop-down menu for selecting busses.
Link Channel Controls (DCAs) Links are a way to globally control fader levels and other mixer parameters across several channels. When channels are assigned to a link group, their controls move together. Changing one control moves the corresponding controls of the other channels in the group. Existing offsets are kept and can be changed. The mixer has 16 link groups, and a mixer channel can be assigned to any number of them. Also, there is no limit to the number of channels that can be assigned to a link.
DCAS A DCA is a means of remotely controlling the trim values of a group of faders. A DCA is not an audio path like a group buss. Rather, it is a fader that trims other, assigned, faders. This is an outgrowth of classic mixer VCAs. When moving a DCA fader, the controlled faders do not move; they stay at their original position. “Ghost faders” show the current level of each channel, as determined by the offset introduced by the DCA fader.
CHAPTER 4: MIXER WINDOW T he Mixer window is inspired by traditional mixing consoles, so this is probably the most familiar view. The window provides a broad, multichannel view of the entire mixer: input, routing, plugins, assignments, and channel parameters. All of its controls are mapped to other windows, where focused, more detailed, views are available.
Mixer Window Overview The Mixer window controls provide access to assignment and processing settings, such as those on the Channel and Patch windows, for up to 16 channels in a single window. The mixer consists of four main sections. Mixer Layers Mixer Channels Master Fader Utility Sections a. Channel Strips b.
MIXER WINDOW SECTIONS Mixer Layers Mixer Layers represent categories of channels. Nine layers address different channel types, and each layer has its own view.
MIXER CHANNELS There are two aspects to a mixer channel: • A means of controlling the busses or controls assigned to the channel (Channel Strip) • Processing and routing tools that can be applied to the channel (Modes) CHANNEL STRIPS A channel strip is organized in keeping with industry norms of digital mixing consoles. The bottom section of each channel strip is the same in most views: pan/rotation, mute, fader/meter, and cue/solo.
LAYER MODES A Layer Mode determines the actions that affect the channels in the currently selected layer. There are two pages of Mode selectors. Toggle between the pages with the arrows above the panel. Input: Select input source. Control preamp and digital trim. Channel: View and control details of the selected channel without leaving the Mixer. Gray if no channel is selected. Rack: Insert up to eight plugins per channel. Plugins can be inserted on any layer, including mains, cue, and talkback.
AUX LAYER MODES There are six AUX send modes. Channels and busses can send to auxes based on their position in the signal flow. EFX 1–8: Send channels and busses to AUX/EFX 1-8. Large faders. MON 1–8: Send channels and busses to AUX/MON 1-8. Large faders. MON 9–16: Send channels and busses to AUX/EFX 9–16. Large faders. Using Layer Modes is described in the Modes section (Mixer Window) and Aux/EFX and AUX/MON section (Channel Window) of this user guide. EFX–MON 1: Send to AUX/EFX 1–8 and MON 1–8.
MASTER FADER The Master fader controls output levels, mutes, and cue/solo for the Main Outs: L/R, Center, and Mono. When the mixer is in the “Aux Sends on Faders” mode, the Master fader becomes the output fader for the selected AUX/EFX or AUX/MON buss.
UTILITY SECTIONS Utility sections provide quick access to favorite or regularly used commands: User-Assignable Keys Mute Groups Keyboard Links Triggers the action displayed in the value box Activates mute groups Opens a keyboard for text entries; includes modifier keys Selects and enables Link groups Top Bar The Top Bar is a navigation and management tool available at the top of all views.
Factory Mixer Layers and Custom Layers A mixer Layer is made up of channels of the same type: input channels, busses, and link controls. Selecting a layer determines what kind of channels are viewed and controlled. The Layers panel, next to the master fader, is used to choose among them. A Layer selector button contains small meters that indicate the levels of the channels in each layer. This is a quick way to determine if a channel—or layer—is receiving audio. These meters also have clip indicators.
Channels Layer These are the input channels that feed the mixer. Any channel can be mono or stereo, and this does not affect the total number of channels available. Input channels can control I/O preamps (depending on input device), and each input channel can have up to eight plugins. They can be routed to groups, matrix, main, and direct outs, and sent to AUX/EFX and AUX/MON channels. These four layers share the same view and functionality. Only the channels change.
Groups Layer Groups are commonly used to down-mix several channels to a single buss—the “Group.” This allows for global control of the mix of these channels. Think of the group as being “downstream” from the channels. For example, a drum group may be fed from 16 drum channels and mixed to a group. This mixed group can then be further processed, faded, panned, etc., and sent to the Main outs. Groups don’t add latency. However, plugin latency (if there is any) will be added to the path.
Aux Layer Busses and Groups can be sent to any of 16 effect and aux channels, in various view and control combinations. Auxes can be sent directly to the main buss, with no need for additional return channels, or to the matrix and IO devices. EFX channels can be sent to MON busses or to another EFX buss, depending on its position in the signal flow. Send channels and busses to auxes in the Mixer or Channel windows. Assigning aux sends is discussed later in this chapter, Mixer > Layer Modes > Aux Mode.
Effects and Monitor busses are very similar in most Layer Modes, but their signal flows differ slightly. AUX/MON busses are typically used for monitor feeds. Signals are sent to auxes from channels and busses. These aux busses will be mixed and then assigned directly to outputs. Each monitor aux can have up to eight plugins, so effects such as reverb, delay, or other processes can be added to an aux buss before they are routed to I/Os.
Masters Layer The Masters layer provides control over the Main mix and its distribution, as well as Matrix, Talkback, and Cue. The Main and Matrix busses each use up to 8 plugins to adjust the distribution properties of each mix output, such as the PA system, peripheral zones, or guest sends. The Layer is divided into two sections: Mix buss outs (Main outs, Cue, and Talkback); and a Matrix (12 stereo inputs per channel, with eight stereo outputs).
Buss Outs Main Outs Main mix outs can be assigned from any mixer channel or buss, except Cue, Matrix, or Talkback. To quickly learn which busses are assigned to the Main out busses, check the Internal Patch page or open the Input list in the Channel window of a Main out. • The Master fader on the right duplicates L/R fader position. • In the Input mode, Center and Mono channels have input-independent trims. • Hosts up to eight plugins. • All Main mix busses can be assigned to the matrix.
Each Matrix channel accepts up to 12 assignments. Assignment levels can be controlled with the small faders on each Matrix channel (Input mode), or, more conveniently, in the Matrix channel page. To access this panel, select any Matrix channel and go to the Channel view. Cue, Talkback, and Matrix channels are described in the Channel chapter of this user guide.
Link/DCA Layer A DCA remotely controls the trim values of a group of faders. Any channel except Talkback can be assigned to a DCA channel. Moving the DCA fader changes the gain offset of all the faders under its control. When you move a DCA fader, the controlled faders don’t move. They stay at their original positions, while “ghost faders” show the current channel level, as determined by the offset introduced by the DCA fader. This is similar to analog VCA faders.
In this example, channels 1, 2, and 4 are assigned to a DCA. The DCA fader is set to 0 dB. The DCA fader is moved to -5 dB. “Ghost” faders indicate the offset created by DCA.
ALL Layer This layer provides an overview of all of the channels in a session. Each small channel strip includes a cue control, fader, meter, and mute. Touch a channel number to open its channel view. This is particularly useful for single-display configurations, since you can easily go from a wide view of all channels to a focused Channel window. The color code of each layer is shown in this view. There are no modes in the ALL layer.
Custom Layers Channels of any layer type can be combined in user-created Custom layers. This enables control of a specified assortment of channels in one view, without changing mixer layers. Channels can be organized in any order within a Custom layer. Each of the eight Custom layers can contain up to 16 channels. To populate a Custom layer, click “Custom.” Choose one of the eight Custom layer buttons (right). • • • Use the drop-down menu at the top of a channel strip to assign a channel to the strip.
Dugan Layer The Dugan Speech Automixer is a way to control a group of live microphones in multi-speaker environments. It turns up mics where someone is talking and turns them down where people are quiet. It’s commonly used in situations such as roundtable discussions, talk shows, debates (and the like) and is based on the hardware Dugan Automatic Microphone Mixer.
Mixer Channels A Mixer’s processing, routing, and control take place on channels and busses. To control these channels, two things are needed: (1) A means of selecting and controlling the processing, routing, and controls applied to a layer of channels or busses (Layer Modes) (2) A mechanism for controlling channel input, panning, cue/solo/mute and other traditional mixer functions (Channel Strip) Channel Strip eMotion LV1 channel strips are laid out in a manner customary for digital mixing consoles.
Channel Input Channels 1–64 are input channels that patch to I/O devices, including shared devices. The number of inputs available for patching is determined by the various devices assigned to the mixer. • Drop-down menus at the top of each channel strip show available I/O device channels. • An I/O channel can patch to several mixer input channels. Unavailable I/O channels are grayed out. • Once an I/O channel is selected, its name appears in the channel input name box just below the channel name.
PAN/FADER VALUE When the panner or fader is touched, its value is displayed in this value box. Panner values are displayed in blue and fader values in yellow. PEAK LEVEL INDICATOR Located just below the Fader/Panner value box, this indicator displays peak level and clipping. Peak hold, clip hold, and clip indicator threshold are set at Setup > U/I Settings > Peak and Clip. Click anywhere on the meter to clear holds. FADER Touch a fader to select it. Usually, selecting a fader also selects the channel.
Stereo/Mono Mix Channels Many channels can be either stereo or mono. Toggle a mixer channel between mono and stereo by clicking the input selector at the top of its channel strip in the Mixer window. You can also do this in the Channel window. Go to the channel’s Input section, click Add, and choose “Flip to Stereo” or “Flip to Mono” from the drop- down menu. Pan/Balance/Rotate Functions A 155 Multi-function pan/balance/rotate knobs provide mono panning and stereo balance and rotation.
Layer Modes Input Layer Mode The Input layer mode controls the signals from I/O devices or internal busses. In this mode, each layer has digital trim controls and pan/ balance/rotation controls for each channel or buss. When a channel is patched to an I/O with a preamp, the Input layer mode provides control of the preamp. PREAMP CONTROLS When a channel is patched to an I/O preamp, the following preamp controls are available: 1 2 48v Phantom Power: Activates the microphone preamp 48v phantom power.
Dynamics/EQ Mode The DYN/EQ mode displays the controls and graphics of plugins that have been assigned for Main Channel processing. It provides a single-page overview of the dynamics, EQ, and filter processing for an entire 16-channel layer. Each channel’s mode section includes graphic displays of specific EQ and dynamics processors. Plugins can be bypassed with the display buttons. A selected plugin or section is bypassed when its indicator light is off.
Rack Mode The Rack mode displays the plugins and external inserts for the channels in the current layer. This provides an overview of the processors on each channel or mixer buss, as well as quick access to a plugin’s control pane. In the Rack mode you can move and copy plugins between racks, re-sequence rack order, and bypass, disable, and remove plugins from racks. Each channel rack can hold up to eight plugins.
DISABLE PLUGIN Removes the plugin from the processing chain without deleting it from the rack. Disabling plugins that are currently unused may reduce rack latency. Higher rack latency can result in an accumulated delay from the buss inputs. You can re-enable the plugin without losing its settings, controls, or automation assignments. When a plugin is disabled, its name will remain visible, but the slot will be solid gray. REMOVE PLUGIN Deletes the plugin from the slot.
CONTROLLING PLUGINS FROM THE RACK Single click: Opens the plugin pane of the plugin or external insert. Single click + hold: Opens the plugin menu. Ctrl + alt + click: Bypasses the plugin. Ctrl + click: Disables the plugin. Removes the plugin from the DSP processor. Drag an icon off the left side of screen: Removes the plugin. This cannot be undone. MOVING AND COPYING ICONS Click + drag icon: Moves a plugin and its presets to another rack slot.
Route Mode Use the Route mode to patch within the mixer and to I/O devices. It provides an overview of the internal and external patching of the mixer view. 1 Input Select: Lets you choose between two sets of I/O device input channels, A or B. Each set can be patched to any device that is assigned to the mixer. Each channel has two inputs. 2 Group Assignments: Assigns channel to up to eight mix groups. Groups are controlled on the GRP layer.
Aux Layer Modes All Input channels and groups can be sent to Effects and Monitor aux busses. Each aux buss can have up to eight plugins and can be assigned directly to I/Os, to the main outs, or to the matrix. Effects busses can be sent to Monitor busses. Effects busses can also be sent back to later effects busses. There are six Aux layer modes in two pages. The first Modes panel shows eight sends per mode. Each channel uses standard “long” faders.
ADJUSTING AN AUX SEND 1. Select an AUX Layer mode. 2. Select an aux that you want to send from the selected channel. Aux channel names are shown in the Sub Views panel on the left side of the layer mode section. 3. Turn an aux send on or off by clicking its cell. 4. Select the source for each send. Ctrl+click on a cell to choose its source.
Sends on Faders In the “Sends on Faders” mode, the channel faders control the level of the aux send, not channel level. The master fader controls the level of the aux channel rather than that of the main out.
CONTROLLING AUX SENDS WITH LARGE FADERS 1 Select an Aux layer mode (EFX or MON). 2 In the Sub Views section on the left, click the name of the aux channel whose sends you wish to adjust. The interface changes color to indicate that channel faders have flipped function. The name of the selected aux channel will appear above the master fader, and cue will be selected for that aux buss. 3 Use the faders to adjust send levels for all channels in the current layer. Each send has a pan/balance/rotate control.
Channel Mode The Channel layer mode provides comprehensive feedback and control of routing and processing for a selected channel or buss on the current layer. Detailed channel information and controls are displayed in the Modes section of the window, leaving panners, meters, mutes, and cues unchanged for all channels in the Layer. This mode is particularly well suited for single-display mixer setups.
Master Fader 1 2 1 Master Fader Selection: Determines which output is controlled by the master fader (L/R, Center, or Mono). In the “Sends on Faders” mode, the master fader controls the selected aux channel output level. The name of the aux channel that is being controlled is shown in the L/R value box. 2 Master Fader Mute: Mutes the master channel that the fader is controlling. 3 Master Fader: The Maser Fader controls the master buss and can be assigned to the L/R main mix, Center, and Mono.
Utility Sections Utility sections provide quick access to favorite or regularly used commands. USER-ASSIGNABLE KEYS Activate Mute Groups Many mixer actions can be assigned to these eight keys. Clicking on a key triggers the corresponding action. Common assignments include loading and saving sessions and scenes, navigating between channels and views, and controlling channels and plugins. The name of an action is indicated on its assigned key. User-assignable keys are set in the U/I Settings page.
ACTIVATE MUTE GROUPS Use these buttons to recall up to eight mute groups. • All member channels of an activated mute group display a flashing mute button. • Any member of an active mute group can be unmuted by clicking its mute button. Click again on the button to mute the channel beyond the scope of the mute group. It will remain muted even after the mute group is deactivated. • A third click returns the channel mute to normal mute group behavior.
LOCK MIXER The Lock Mixer button is on the right side of the Top Bar. The Lock function prevents unintended “structural” changes in a session, such as adding, removing, or copying plugins, or changing external patches. Locking these controls does not affect parameters or internal routing, such as aux sends, or group or matrix assignments. You can also lock the application interface, with or without a password. This does not affect the mixer, only the user interface.
Link Group Controls Links are a way to globally control mixer parameters across several channels. When channels are assigned to a Link group, their controls move together. The Link button and menu are used to determine which Link group is currently active. • Any mixer channel can be assigned to a Link group. • There is no limit to the number of channels that can be assigned to a link. • All mixer controls except routing and 48v can be linked.
DCAS Link group assignments are also used to establish DCA groups. When a channel is assigned to a Link group, its faders can be remote-controlled from a DCA fader in the Link/DCA Layer. A DCA fader imposes an even-gain offset to all the faders assign ed to it. When the DCA fader is set to zero, the channel faders under its control are unchanged. When a DCA fader moves, the linked faders do not move. Instead, a “ghost” fader indicates the total gain achieved by a channel’s faders and the DCA offset.
Spill The Spill view displays all the channels in the selected Link Group, regardless of the channel types. Linked controls can be adjusted and a DCA can be used to trim all faders in the group. Click the Spill button in the Link section to access the view. Select a Link/DCA channel to view its associated Spill pages. Each Spill page has 16 channels: the DCA fader is on the left, and 15 linked channels are to its right. If a Link group has more than 15 channels, then multiple pages will be displayed.
Chapter 5: SHOW WINDOW S 174 essions, scenes, and recall- safe parameters are managed in the Show window. Overall mixer parameters, snapshots of specific program changes, scene scope and recall safe are all set here.
Sessions Page The Sessions page is where you save, load, and name the session files that contain all mixer settings: • Inventory • External patching • Channel presets and rack configuration • Plugin presets • System preferences • Internal mixer patches • Faders, panners, and aux sends All of these settings load with a session.
SESSIONS PAGE ELEMENTS Save Save As 3Load 4Open 5Clear Saves a new copy of the current session. Loads the selected session displayed in the Sessions list. Loads a session file that is not displayed in the Sessions list. Clears the Sessions List. This does not delete the sessions. Sessions can be re-loaded and added to the Sessions list using the Open button. History New 7Sessions List Click the History button to open a browser that shows all auto-saved session files. Opens a new blank session.
Sessions List The Sessions list shows the sessions that have been created or modified in the Sessions window or opened from another location. It is used to select, copy, and load sessions. The color with which a session is highlighted indicates its status. A selected session is highlighted blue, whether it is the recalled session or not. A highlighted session is not active until it is loaded.
Loading a Session Load a session from the Sessions list or from the Preset menu. LOADING A SESSION FROM THE SESSIONS LIST The Load command loads a session from the Sessions list. Open loads a session that is not in this list. Regardless of the file’s location, the Load/Open commands trigger a process that first saves the existing session and then loads the new one. If the new session has the same number of tracks and calls for the same or similar I/O inventory, then the new session will load immediately.
RESOLVING LOAD ERRORS If there are differences between the session being loaded and the current mixer size or inventory, the mixer must reconcile this mismatch. Example 1 The saved session has more channels than does the current mixer configuration. In this case, the session calls for 64 channels, while the system inventory has only 32. If the mixer can be enlarged to 64 channels, the session will load without incident.
Option 2: Current – The saved session loads into the existing I/O inventory. The saved session is replaced with a new one that reflects the current device inventory. The mixer searches each rack slot for an assigned device that will match the needs of the session. The device in the slot needn’t be precisely what the session requests, but it must have sufficient I/O channels. System Inventory is catalogued by slot, not by rack, so an appropriate device must be found in the same slot as the session calls for.
There are three settings for Auto-Save: No Auto-Save There are no automatic saves. No History files are created. Auto-Save New History files are created in user-defined time intervals. On Scene Update A new History file is created each time a scene is recalled or stored. Click the History button above the Sessions list to open a browser that shows all History files. They are named by session name and a date/time timestamp. Locate a session and open it.
Scenes Page A scene is a snapshot within a session, used in order to change presets during a performance. Use the Scenes page to create, recall, and save scenes in a session. A session can contain up to 1000 scenes.
Store New Recall Undo Copy Paste Delete MIDI Scenes List 1Scope All/None Selector Channel Parameters Selectors Input Channel, Buss, and Link Selectors 1Hot Scene List 1Notes 183 Updates the current snapshot and scope parameters with the current mixer condition. Replaces the existing stored scene. Creates a new scene, based on the current preset and scope settings. This makes a new scene from the current one and serves as a “Save as” function. Recalls the selected scene.
Scenes List The Scenes list works in the same manner as the Sessions list. • A selected scene is highlighted blue, whether it is the recalled scene or not. A highlighted scene is not active until it is recalled. • Notes associated with the selected scene are shown in the Notes section. • If the current scene is not selected, it will be highlighted yellow, and the selected one will be highlighted blue. Above the Scenes list are two arrows.
CHANGING THE ORDER OF THE SCENES LIST A scene’s place in the Scenes list determines its recall number, so it’s important to be able to change its position. There are two ways to do this: • Drag the scene to a new location. • Copy a scene with the Copy button. Use the separator line to choose where the pasted scene will be located in the list. If the separator line is not used, then the copy will be added to the bottom of the Scenes List. Double-click on the scene to change its name.
Hot Scenes Hot Scenes are user-selected scenes that are quickly accessible for recall. At the bottom of the Scenes list is a menu of Hot Scene assignment positions. Use this menu to assign the selected scene a Hot Scene position. Hot Scenes are recalled from the Scenes menu on the Top Bar. The scene’s name and Hot Scene position are shown. The scene is recalled immediately. The Scenes list on the Top Bar can be controlled with MIDI program changes.
Scope Section The Scope section sets which functions, channels, busses, and control groups will be affected by scene changes. Scope is set for each scene, not by session. Items selected (blue) are included in the scene and will change to follow the parameters of the scene being loaded. Items not selected will remain in their current state.
Channel Parameters Sets channel parameters that are within the scope of a scene. These settings apply equally to all selected channels.
Scope of Changes: Session vs. Scene Sessions define the “architecture” of a setup: I/O configuration, racks, and patches, as well as all parameters. Scenes, on the other hand, define only the parameters. Scenes are an integral part of a session. They are not stored as separate files.
Recall Safe Page The Recall Safe page prevents changes to specified channels, busses, and functions during a scene change. An item that is in Recall Safe mode is exempt from changes. Recall Safe is set for an entire session, not by scene. So once Recall Safe is set for the parameters and channels of a session, scene recalls will not affect their settings. The Recall Safe panel is identical to the Scope section in the Scene page.
CHANNEL RECALL SAFE Individual channels can also be set to Recall Safe from their Preset menu. This is the same as selecting the channel in the Recall Safe section, but at times this may be more convenient. These selections are indicated in the Recall Safe page and the Session Name field in the Top Bar. PREAMP RECALL SAFE To ensure that I/O device preamp parameters are not changed with a scene change, select Preamp in the Recall Safe page.
Chapter 6: eMotion LV1 SIGNAL FLOW DIAGRAMS 192 Waves eMotion LV1 User Guide | Chapter 6: Signal Flow
Waves eMotion LV1 User Guide | Chapter 6: Signal Flow
Waves eMotion LV1 User Guide | Chapter 6: Signal Flow
Waves eMotion LV1 User Guide | Chapter 6: Signal Flow
Waves eMotion LV1 User Guide | Chapter 6: Signal Flow
Waves eMotion LV1 User Guide | Chapter 6: Signal Flow
Waves eMotion LV1 User Guide | Chapter 6: Signal Flow
Waves eMotion LV1 User Guide | Chapter 6: Signal Flow
Waves eMotion LV1 User Guide | Chapter 6: Signal Flow
Waves eMotion LV1 User Guide | Chapter 6: Signal Flow
APPENDIX A: eMOTION LV1 MIXER CONFIGURATIONS There are three eMotion LV1 configurations. Select mixer size on the Mixer Settings page of the Setup window (Setup > Mixer Settings> Mixer Configurations). Changing the configuration depends on your license (64, 32, or 16 channels). A Mixer Layer with no tracks is unavailable (its Layer button is gray). Routing Menus do not display unavailable tracks. The mixer configuration is saved in an eMotion LV1 session file.
When loading a session that was created on a large mixer configuration to a system with a smaller configuration, the higher channels from the original session become unavailable. All mixer data associated with these unavailable channels will be lost. This action cannot be undone. If this “smaller” session is saved and reloaded on a larger system, the missing channel information will not be recovered.
APPENDIX B: USING MULTIPLE DISPLAYS eMotion LV1 is a software mixer, so it can be configured to suit many ways of working, and it can quickly adapt to various venues and conditions. You can change the size of a mixer itself by adding I/Os or changing the configuration. You can also change the visual layout of the mixer to suit your way of working. Create additional display views by “tearing off” tabs from the original screen display. Original view: All tabs are available.
Single Display You can use the mixer with a single display, such as an all-in-one or tablet. This is useful for small projects or where there is little space. It also provides for very quick setup. Since display space is limited when using one monitor, there is a mixer view—the Channel layer mode—that enables you to observe and control most aspects of a channel without leaving the mixer surface. The Channel layer mode combines the view of all other mixer sections.
Two Displays: One for the Mixer Window, One for Other Windows This a classic two-display view. One display provides uninterrupted access to a Mixer window. The other display is used for all other views. It closely resembles a hardware digital mixing console, where a multi-level channel controller (eMotion LV1 Mixer window) is accompanied by a display for focused channel control (Channel window). Logically, the bottom display is dedicated to the mixer.
Three Displays: Mixer, Show, and Patch/Setup/Channel Windows Adding a third, perhaps smaller, display provides constant access to the Show window. This configuration is ideal for live events with a large number of scene changes.
Two Displays: One Continuous Mixing Desk Two monitors are placed side by side to create a 32-channel mixer interface. The primary display (right side in this example) can be switched between other Mixer window layers as well the Control, Setup, and Patch windows. The secondary monitor (left) is fixed to one of the Mixer windows. It offers complete control of its mixer view. Plugins selected here will open in the main display, leaving the Mixer window undisturbed.
Three Displays: One Continuous Mixing Desk and a Large Control Section For quick access to two Mixer windows and a dedicated surface for the Patch, Show, Setup, and Channel windows, add a third large monitor. The two front displays are dedicated to Mixer windows 1 and 2, and they have complete control over all Mixer window controls. The two mixer windows have inputs that and be identical or completely different, so one window can be the extension of the other, or it can show entirely different channels.
Single Large Display, Tiled Mixer Windows You can tile windows on one screen to access several views. This allows you to focus one view while keeping the others handy. This single-display configuration is appropriate for large multi-touch monitors.
Four displays: One Continuous Mixing Desk, Two Control Monitors Four displays provide a dedicated 32-channel mixing surface, and let you dedicate a display to the important Channel window. The fourth display can toggle between Setup, Patch, and Show. The two front displays are dedicated to Mixer windows 1 and 2, and they have complete control over all Mixer window controls.
APPENDIX C: INCORPORATING MIDI MIDI devices can be assigned to the mixer for remote control of certain functions. Program change messages can be sent from a MIDI controller to the mixer or from the mixer to a MIDI controller. Also, mixer faders, panners, and mutes can be remote-controlled. Control protocols are assigned and removed in the Control rack of the System Inventory page. Select the MIDI protocol from the drop-down menu. Click on the Gear button to open the MIDI Control Surface Options panel.
Show Control Section This section sets the MIDI port and channel used for triggering Scenes using MIDI program change messages. Select a MIDI Device: Select an Input and Output port from the drop-down menu. All available MIDI ports are listed. The selected device appears in the Port Name box. Choose a MIDI Channel: Select a MIDI channel for Input and Output. Assigning a Specific (single) channel (when applicable) means that all data from other channels data are filtered out from the incoming stream.
Generate Program Change: Selecting this option for the MIDI output sends a Program Change command whenever a Scene is recalled. The program change number follows the Scene index number. Display MTC: When selected, the time window in the Top Bar displays MIDI timecode. When deselected, the window displays time from the host computer. Mirror Input (Thru): When Mirror Input is selected, the input stream is sent directly, unchanged, to the selected output port.
APPENDIX D: MACKIE CONTROL PROTOCOL The mixer can be controlled with any control surface device using a Mackie Control protocol option. Some controllers support several protocols, so it’s important to confirm that the device is set to the Mackie Protocol Mode. There are also tablet applications that emulate controllers using Mackie Control protocol. Consult the user guide of your control surface. Control protocols are assigned and removed in the Control rack of the System Inventory page.
LINKING LAYERS AND FADERS Both the Mixer window and the controller can be used to select between layers. The “Faders” drop-down menu establishes the relationship between the controller and the Mixer window when selecting layers. In some circumstances you will want layer selections made in one interface to be reflected in the other. Doing this moves the active layer to the front in both interfaces, and fader moves in one device are reflected in the other.
FADERS: FOLLOW AUX-SENDS FLIP In the “Sends on Faders” mixer mode, the channel faders control the level of the aux send, not the channel itself. Select “Follow AuxSends Flip” to enable controller faders to follow this behavior. Refer to Mixer > Aux Modes > Sends on Faders for more about using large faders to control aux sends. MASTER 1 Use this drop-down window to assign which channel the master fader is controlling. This can be the Main L/R mix or any other channel or buss in the mixer.
eMotion LV1 - Mackie® Control Implementation 218 Switch ID Function LV1 mapping 0x8-0x0F Solo Channel strip Solo 0x10-0x17 Mute Channel strip Mute 0x18-0x1F Select Channel strip Select 0x28 Track (Vpot Assign1) Preamp and Trims per Channel Strip 0x29 Send (Vpot Assign2) Aux sends per Channel Strip 0x2a Pan (Vpot Assign3) Channel Name and Pan/Imager per Channel Strip 0x2b 0x2c Plugins (Vpot Assign4) EQ (Vpot Assign5) Selected Channel’s Plugin Rack - select a plugin, and map a plugin
Switch ID Function LV1 mapping 0x60 Arrow up Navigate (Scene) Menu 0x61 Arrow down Navigate (Scene) Menu 0x62 Arrow left Navigate (Scene) Menu 0x63 Arrow Right Navigate (Scene) Menu 0x64 Zoom Navigate (Scene) Menu - Enter - select item 0x65 Scrub Selected control Toggle 0xb0, 0x3c, 0xRR Jog Wheel Mapped to touch and slide control, any selected control can be adjusted by the jog.
Assignment Notes EQ (0x2c) EQ Selected channel Vpot Knob 2 Band 1 - Band Type 1Gain 3 EQ Control EQ Link L/R L+R parameters 1 Threshold Gate / Exp 2 Threshold Leveler page 3 Threshold DeEsser page 4 Threshold Limiter page 5 Threshold Plugin select 1 Toggles Rack Inserts 18 Selection Per plugin mapping Preamp Gain open plugin GUI and map to Vpot 2 Selecte d Plugin 220 Vpot Press 1 Band 1 - Q Band 1 - Band Type 1Gain Inst / Gate page Dynamics (0x2 d) Selected channel Comp page Track
Assignment Pan (0x2a) Per Fader Sends (0x29) Notes Page Vpot Knob 1 Vpot Press 1 1 Pan / Balance “Channel Pan / “Channel Pan / Name” Balance Name” Balance “Channe Pan / “Chann l Name” Balance el Name” “Channel Pan / “Channel Pan / “Channel Pan / “Channel Pan / Balance Name” Balance Name” Balanc Name” Balance Name” e 2 Rotation “Channel Rotation “Channel Rotation Name” Name” “Channe Rotatio l Name” n “Chann el Name” Rotatio “Channel Rotation “Channel Rotation “Channel Rotation “Channel Name”
APPENDIX E: USING THE MIDIPLUS FIT CONTROLLER The FIT controller is a fully integrated fader bank for the eMotion LVl. It features 16 touch-sensitive motorized channel faders and a touch-sensitive motorized master fader. Each fader has a corresponding clickable rotary encoder. Hardware Setup Connect the host computer and the FIT controller with a USB cable. Start LV1, then the FIT controller. It will launch in the LV1 mode. Software Configuration 1.
FIT HARDWARE CONTROLS Channel faders Touch-sensitive motorized faders Mute Mutes the corresponding channel’s output signal. Solo Activates CUE or SOLO, depending on LV1 Cue channel settings. Rotary encoder A rotary encoder controls the channel’s preamp gain or pan. Click utility button #1 to toggle between gain or pan (default). This toggle affects all channels in the layer. The value and label of this control are displayed on the scribble strip.
User button Engages user-assigned keys mode. Touch and Turn control One LV1 or plugin control can be assigned to this knob. Assign: Click Touch & Turn knob, touch any LV1 or plugin control, click Touch & Turn to confirm. Assignment appears in the scribble strip. Control: Turn knob to adjust selected continuous control or switch. Press to increase encoder resolution. Touch and Turn mapping and values are shown on the Master section scribble strip. Tempo pad Tap repeatedly to set the tempo.
APPENDIX F: DELAY GROUPS eMotion LV1 can host plugins on every channel and buss. Different channels will likely use different plugins, each of which can impose different delays. At each point where channels or busses are summed, they must be aligned with each other as a group. Those with the least delay are aligned with those with the greatest. Summing to a buss does not add delay but adding plugins on the buss may. When these busses are again summed, delay adjustment may again be needed.
Latency, Delay Compensation, and Delay Groups The delay added by the delay compensation function is determined by the various paths its signal can take. In the example below, Channels 1, 3, and 5 have plugins with different latencies. (Channel 1 = 100 samples; Channel 3 = 1000 samples; Channel 5 = 10 samples) • Channels 1 and 3 are summed on the group buss and aligned to match the channel with the greatest latency, in this case Input Channel 3.
10 227 Waves eMotion LV1 User Guide | Appendix E: Delay
Assigning an I/O to a Delay Group: Channel Window Delay groups are assigned in the Output section of the Channel window. If you have not already done so, assign I/Os to the channel outs. 1 Use the drop-down Delay Groups menu to assign the selected I/O channel to a delay group. 2 Use the On/Off button to temporarily disengage a channel from the delay group. This does not remove the I/O from the delay group. Instead, it removes the plugin from plugin/buss latency compensation calculations.
Assigning an I/O to a Delay Group: Patch Window You can also use the Patch window to assign I/Os to delay groups and set the delay value. Patch a delay group to any number of I/O channels. The group’s delay is noted in its value box and can be adjusted as in the Channel window. This delay value matches the value in the Channel delay section Turning Off Plugin Compensation on Specific Plugins You can turn off delay compensation for specific plugins in a rack.
eMotion LV1 KEYBOARD SHORTCUTS Window All Mode or Section All Keystroke Alt+click on a control Action Returns most controls to default value. This is also true with most plugins. Mixer Rack Alt + right click/insert a plugin The selected plugin is inserted in the same rack insert position on all channels in the layer. Mixer Rack Alt + right click/bypass a plugin Bypasses all plugins in the same rack insert position on all channels in the layer.
