Axia Element Installation & User Manual

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Page 1

element

Installation & User’s Guide

Revision 3.0 for:

• Element v2.x and higher

• StudioEngine v2.4.8x and higher February, 2008

Page 2

USA Class A Computing Device Information To User. Warning:

This equipment generates, uses, and can radiate ra-

dio-frequency energy. If it is not installed and used

as directed by this manual, it may cause interference

to radio communication. This equipment complies

with the limits for a Class A computing device, as

speciﬁed by FCC Rules, Part 15, Subpart J, which

are designed to provide reasonable protection against

such interference when this type of equipment is op-

erated in a commercial environment. Operation of

this equipment in a residential area is likely to cause

interference. If it does, the user will be required

to eliminate the interference at the user’s expense.

NOTE: Objectionable interference to TV or radio

reception can occur if other devices are connected to

this device without the use of shielded interconnect

cables. FCC rules require the use of only shielded

cables.

Canada Warning:

Important Safety Information

To prevent risk of electric shock: Disconnect power

cord before servicing. If fuse replacement is required,

please note: For continued protection against ﬁre, re-

place fuse only with same type and value.

Caution

The installation and servicing instructions in the

manual are for use by qualiﬁed personnel only. To

avoid Electric Shock, do not perform any servicing

other than that contained in the operating instruc-

tions unless you are qualiﬁed to do so. Refer all ser-

vicing to qualiﬁed personnel.

Electrical Warning

To reduce the risk of electrical shock, do not expose

this product to rain or moisture. Keep liquids away

from the ventilation openings in the top and rear of

the unit. Do not shower or bathe with the unit.

“This digital apparatus does not exceed the Class A

limits for radio noise emissions set out in the Radio

Interference Regulations of the Canadian Depart-

ment of Communications.” “Le present appareil nu-

merique n’emet pas de bruits radioelectriques depas-

sant les limites applicables aux appareils numeriques

(de les Class A) prescrites dans le Reglement sur le

brouillage radioelectrique edicte par le ministere des

Communications du Canada.”

CE Conformance Information:

This device complies with the requirements of the

EEC Council Directives: 93/68/EEC (CE Marking);

73/23/EEC (Safety – low voltage directive); 89/336/EEC

(electromagnetic compatibility). Conformity is declared

to those standards: EN50081-1, EN50082-1.

This equipment is designed to be operated from

a power source that includes a third “grounding”

connection in addition to the power leads. Do not

defeat this safety feature. In addition to creating a

potentially hazardous situation, defeating this safety

ground will prevent the internal line noise ﬁlter from

functioning.

Ventilation Warning

The Axia StudioEngine and Power Supply/GPIO

Nodes require the free ﬂow of air for adequate cool-

ing. Do not block the ventilation openings in the top

and rear of the unit. StudioEngine and the Power-

Supply/GPIO Node must be mounted with a blank

rack spacer above or damage may occur.

Failure to allow proper ventilation could damage the

unit or create a ﬁre hazard. Do not place the unit on

a carpet, bedding, or other materials that could inter-

fere with the rear and top panel ventilation openings.

Page 3

Customer Service

We support you...

By Phone/Fax in the USA.

Customer service is available from 9:30 AM to 6:00 PM USA Eastern Time, Monday through Friday at

•

+1 216.241.7225. Fax: +1 216.241.4103.

By Phone/Fax in Europe.

Service is available from Axia Europe in Germany at +49 81 61 42 467. Fax: +49 81 61 42 402.

•

By E-Mail.

The address is [email protected].

•

Via World Wide Web.

The Axia Web site has a variety of information which may be useful for product selection and support. The URL

•

is http://www.AxiaAudio.com.

Feedback

We welcome feedback on any aspect of the Livewire products or this manual. In the past, many good ideas from

users have made their way into software revisions or new products. Please contact us with your comments.

Updates

The operations of Element and StudioEngine are determined largely by software. Periodic updates may become

available - to determine if this is the case, visit our web site periodically, or contact us for advice concerning whether

a newer release is more suitable to your needs.

Our electronic newsletter has announcements of major software updates for existing products, as well as keeping

you up to date on the latest Axia, Telos, and Omnia product releases.

To subscribe go to http://www.axiaaudio.com/news/eNews.htm.

Trademarks

Telos Systems, Axia Audio, Livewire, the Livewire Logo, the Axia logo, Element, SmartQ, Status Symbols, Zeph-

yr, Zephyr Xstream, Zephyr Xport, Omnia, the Omnia logo, and the Telos logo, are trademarks of TLS Corporation.

All other trademarks are the property of their respective holders.

Axia Audio 2101 Superior Ave. Cleveland, OH 44114 USA

+1 (216) 241-7225

[email protected]

Axia Europe Johannisstraβ e 6, 85354 Freising, Germany +49 81 61 42 467

[email protected]

Introduction • iii

Page 4

Notice

Feedback is welcome

All versions, claims of compatibility, trademarks, etc.

of hardware and software products not made by Axia

mentioned in this manual or accompanying material

are informational only. Axia makes no endorsement

of any particular product for any purpose, nor claims

any responsibility for operation or accuracy.

Warranty

This product is covered by a one year limited war-

ranty, the full text of which is included in the rear

section of this manual.

At Axia, we love to hear your feedback. If you ﬁnd

anything in this manual that you feel needs clari-

ﬁcation or correction, please let me know: e-mail

[email protected] .

About This Manual

This manual covers the details of the Element Stu-

dio Control Surface and StudioEngine. However it

is assumed in this document that you are familiar

with Livewire’s basic concepts, as outlined in the

companion Introduction to Livewire: System Design

Reference and Primer.

Service

If you have not done so, please review that mate-

You must contact Axia before returning any equip-

ment for factory service. Axia will issue a Return

Authorization number, which must be written on the

exterior of your shipping container. Please do not

include cables or accessories unless speciﬁcally re-

quested by the Technical Support Engineer at Axia.

Be sure to adequately insure your shipment for its

replacement value. Packages without proper autho-

rization may be refused. US customers please con-

tact Axia technical support at +1 (216) 241-7225. All

other customers should contact their local represen-

tative to arrange for service.

rial ﬁrst. In it we explain the ideas that motivated

Livewire and how you can use and beneﬁt from it,

as well as nitty-gritty details about wiring, connec-

tors, and the like. Since Livewire is built on standard

networks, we also help you to understand general

network engineering so that you have the full back-

ground for Livewire’s fundamentals. After reading

Introduction to Livewire you will know what’s up

when you are speaking with gear vendors and the

network guys that are often hanging around radio

stations these days.

New in Manual Version 3.0

We strongly recommend being near the unit when

you call, so our Support Engineers can verify infor-

mation about your conﬁguration and the conditions

under which the problem occurs. If the unit must

return to Axia, we will need your serial number, lo-

cated on the rear panel.

This revision, in February, 2008, details the work-

ings of Element software Version 2.0. This version

represents a major upgrade, with many new features

and capabilities. Look for the “eyes” symbol that

highlights new or changed information throughout

the text.

Credit Where Credit’s Due

Axia Audio, a Telos Company

Deep bows from the waist go to John Makley, Milos

Nemcik, Gints Linis, Michael Dosch and the rest

of the Axia team in helping to proofread and fact-

check this manual. Thanks also to Bruce Wilkinson.

Kudos, guys — you are owed more beers than I can-

Introduction • iv

count. - c.n.

2101 Superior Avenue

Cleveland Ohio 44114 USA

Phone: +1.216.241.7225

Web: www.AxiaAudio.com

E-Mail: [email protected]

Page 5

Table of Contents

Warranty . . . . . . . . . . . . . . . . . . . . . . iv

Service . . . . . . . . . . . . . . . . . . . . . . . iv

New in Manual Version 3.0. . . . . . . . . . . . . iv

A Note From The President of Telos . . . . . . . . vii

A Note From The President of Axia . . . . . . . . viii

Quickstart . . . . . . . . . . . . . . . . . . . . . . . . ix

Making Connections. . . . . . . . . . . . . . . . . . ix

Software Setup. . . . . . . . . . . . . . . . . . . . . ix

Chapter One: Setup and Connections . . . . . . . . . 1

Introduction . . . . . . . . . . . . . . . . . . . . . . 1

Element Preliminary Setup . . . . . . . . . . . . . . 2

Connections and IP Conﬁguration . . . . . . . . . 2

“Capturing” Your Console . . . . . . . . . . . . . 3

Short Navigation Tutorial . . . . . . . . . . . . . 4

IP Address Conﬁguration. . . . . . . . . . . . . . 5

Clock Conﬁguration . . . . . . . . . . . . . . . . 7

StudioEngine Quick Setup . . . . . . . . . . . . . . 8

Connections and IP Conﬁguration . . . . . . . . . 8

StudioEngine Channel Settings. . . . . . . . . . . 9

Set Your Console Type . . . . . . . . . . . . . . . 10

Advanced Settings . . . . . . . . . . . . . . . . . . . 10

Chapter Two: Conﬁguring Inputs . . . . . . . . . . . 11

Understanding Source Proﬁles . . . . . . . . . . . . 11

Source Proﬁle Setup . . . . . . . . . . . . . . . . . . 11

Source Proﬁle Options . . . . . . . . . . . . . . . 11

Adding Backfeeds and GPIO to a Source Proﬁle . 18

Chapter Three: Conﬁguring GPIO . . . . . . . . . . . 21

GPIO Port Deﬁnitions . . . . . . . . . . . . . . . . . 21

Assigning GPIO to a Source. . . . . . . . . . . . . . 34

A word about the GPIO Ports . . . . . . . . . . . . . 35

Input Connections . . . . . . . . . . . . . . . . . 35

Output Connections . . . . . . . . . . . . . . . . 35

Chapter Four: Element Operations . . . . . . . . . . . 37

Overview. . . . . . . . . . . . . . . . . . . . . . . . 37

Displays . . . . . . . . . . . . . . . . . . . . . 37

Show Proﬁles . . . . . . . . . . . . . . . . . . 37

Sources, Channels and Faders . . . . . . . . . 37

Mix-Minus . . . . . . . . . . . . . . . . . . . . 38

GPIO . . . . . . . . . . . . . . . . . . . . . . 38

Monitor Module and SoftKnobs. . . . . . . . . 38

Software . . . . . . . . . . . . . . . . . . . . . 38

Control Callout . . . . . . . . . . . . . . . . . . . . 38

Element with Standard Monitor Module . . . . . . 39

Element with 2-Fader Phone Module and 2-Fader +

Monitor Module . . . . . . . . . . . . . . . . . . 40

Element Stereo Main Screen Overview. . . . . . . 41

Control Details. . . . . . . . . . . . . . . . . . . . . 42

General Fader Controls . . . . . . . . . . . . . . 42

4-Phone Module Channel Controls . . . . . . . . 43

Call Controller + 2Fader Phone Module Controls 44

Production Module Controls . . . . . . . . . . . . 45

Standard Monitor Module Controls . . . . . . . . 46

Nav Keys & Control Knob. . . . . . . . . . . . 46

Channel Options Section . . . . . . . . . . . . 46

Delay Section . . . . . . . . . . . . . . . . . 52

Monitor Section . . . . . . . . . . . . . . . . . 52

Global Options Section . . . . . . . . . . . . . 53

Timer Section . . . . . . . . . . . . . . . . . 58

Record Mode Section . . . . . . . . . . . . . . 59

“Magic Key” Sequences for Standard Monitor

Module . . . . . . . . . . . . . . . . . . . . . 59

Monitor + 2-Fader Module Controls. . . . . . . . 59

Channel Options Controls . . . . . . . . . . . 60

Monitor Section . . . . . . . . . . . . . . . . . 66

Other Controls . . . . . . . . . . . . . . . . . 70

Timer Section . . . . . . . . . . . . . . . . . 71

Record Mode Section . . . . . . . . . . . . . . 73

“Magic Key” Sequences for Monitor + 2-Fader

Module . . . . . . . . . . . . . . . . . . . . . 73

Source-Speciﬁc Channel Controls . . . . . . . . . 73

CR Operator Mic Channel Operation . . . . . 74

Producer Microphone Channel Operation . . . 74

CR Guest Microphone Channel Operation . . . 74

Studio Microphone Channel Operation. . . . . 74

Line Channel Operation . . . . . . . . . . . . 77

Phone Channel Operation . . . . . . . . . . . 79

Codec Channel Operation . . . . . . . . . . . 79

Chapter Five: Show Proﬁles . . . . . . . . . . . . . . . 85

Creating A Show Proﬁle . . . . . . . . . . . . . . . . 85

Build A Show . . . . . . . . . . . . . . . . . . . . 85

Capture It! . . . . . . . . . . . . . . . . . . . . . 85

Show Proﬁle Options . . . . . . . . . . . . . . . . . 86

Introduction • v

Page 6

The Channel Description Screen . . . . . . . . . . 86

Channel Description Section . . . . . . . . . . 87

Individual Headphones Section . . . . . . . . . 89

The Auxiliary Send / Return Description Screen . . 89

Monitor Section Screen. . . . . . . . . . . . . . . 90

General Monitor Options . . . . . . . . . . . . 90

Sources for External 1 & 2 Section . . . . . . . 91

Control Room Monitor (Monitor 1) Options . . 91

Control Room (Monitor 1) Headphone Options 91

Studio Monitor (Monitor 2) Options . . . . . . 92

Master Module Control Lock Map . . . . . . . 93

Save and Exit . . . . . . . . . . . . . . . . . . 93

Record Mode Screen . . . . . . . . . . . . . . . . 93

Record Mode Conﬁguration. . . . . . . . . . . 93

Group Start Screen . . . . . . . . . . . . . . . . . 94

Phone Screen . . . . . . . . . . . . . . . . . . . . 94

Chapter 6: Virtual Mixer . . . . . . . . . . . . . . . . 95

Constructing Virtual Mixes with VMIX. . . . . . . . 95

StudioEngine VMIX Controls. . . . . . . . . . . . 96

Element VMIX Controls . . . . . . . . . . . . . . 97

Enabling Element control of VMIX . . . . . . . 97

VMIX Control Description . . . . . . . . . . . 97

What can you do with a VMIX? . . . . . . . . . . 99

GPIO control of your VMIX. . . . . . . . . . . 99

PathﬁnderPC assisted VMIX . . . . . . . . . . 99

Manipulating Streams With VMODE . . . . . . . . . 100

What does VMODE do? . . . . . . . . . . . . . . 100

VMODE Controls. . . . . . . . . . . . . . . . . . 100

What can you do with VMODE? . . . . . . . . . . 102

Chapter 7: Advanced Element Controls . . . . . . . . 107

Element Conﬁguration Screens . . . . . . . . . . . . 107

The Element Control Center . . . . . . . . . . . . 107

The Setup Menu . . . . . . . . . . . . . . . . . . 107

The Customize Menu . . . . . . . . . . . . . . . . 108

The Log and Log History Menu . . . . . . . . . . 109

The Screenshot Menu. . . . . . . . . . . . . . . . 109

The Module Information Menu. . . . . . . . . . . 109

The Firmware Update Menu . . . . . . . . . . . . 110

CAN Bus Information Manu . . . . . . . . . . . . 110

Brightness Control Menu. . . . . . . . . . . . . . 110

Phone Channels Menu . . . . . . . . . . . . . . . 111

User Modules Menu . . . . . . . . . . . . . . . . 111

Introduction • vi

GPIO Conﬁguration Menu . . . . . . . . . . . . . 111

Script Information Menu . . . . . . . . . . . . . . 111

V-Mixer Menu . . . . . . . . . . . . . . . . . . . 111

NTP Menu . . . . . . . . . . . . . . . . . . . . . 111

Engine Menu . . . . . . . . . . . . . . . . . . . . 111

Sources & Proﬁles Conﬁguration Menu . . . . . . 111

Chapter 8: StudioEngine Controls . . . . . . . . . . . 113

StudioEngine Conﬁguration Screens . . . . . . . . . 113

The Main Menu. . . . . . . . . . . . . . . . . . . 113

The Fader Channels Menu . . . . . . . . . . . . . 113

The Return & Monitor Inputs Menu . . . . . . . . 113

The Program & Monitor Outputs Menu . . . . . . 114

The VMIX & VMODE Menu . . . . . . . . . . . . 115

Stream Statistics Menu . . . . . . . . . . . . . . . 115

The Engine ID Menu . . . . . . . . . . . . . . . . 115

Console ID Menu. . . . . . . . . . . . . . . . . . 116

System Menu . . . . . . . . . . . . . . . . . . . . 116

Diagnostics Menu . . . . . . . . . . . . . . . . . 117

Appendix A: Table of Inputs and Outputs . . . . . . . 121

Appendix B: Block Diagrams . . . . . . . . . . . . . . 123

Appendix C: FAQ / Diagnostics / Maintenance. . . . . 135

Installing A New Module . . . . . . . . . . . . . . . 137

Module Diagnostics . . . . . . . . . . . . . . . . . . 140

Fader Cleaning Procedures . . . . . . . . . . . . . . 141

Appendix D: Working With Phone Hybrids . . . . . . 143

Telos 2101 Multi-Studio Talkshow System . . . . . . 148

Telos Two ISDN Hybrid . . . . . . . . . . . . . . . 152

Telos One and Delta Hybrids . . . . . . . . . . . . . 153

Telos ONE-x-Six, Direct Interface and 1A2 Systems 154

Appendix E: Accessory User Panels. . . . . . . . . . . 155

Installing a CANBus Accessory Panel . . . . . . . 155

Installing a GPIO Accessory Module . . . . . . . 156

Appendix F: Channel / IP Worksheets . . . . . . . . . 159

Appendix G: CE Declaration of Conformity . . . . . . 163

Warranty . . . . . . . . . . . . . . . . . . . . . . . . . 165

Page 7

A Note From The President of Telos

It’s been a tradition since Telos’ very ﬁrst product, the

Telos 10 digital phone system, that I share a few words

with you at the beginning of each manual. So here goes.

In radio broadcast studios we’re still picking up the

pieces that have fallen out from the digital audio revolu-

tion. We’re not using cart machines anymore because

PCs are so clearly a better way to store and play audio.

We’re replacing our analog mixing consoles with digital

ones and routing audio digitally. But we’re still using

decades-old analog or primitive digital methods to con-

nect our gear. Livewire has been developed by Telos to

provide a modern PC and computer network-oriented

way to connect and distribute professional audio around

a broadcast studio facility.

Your question may be, “Why Telos? Don’t you guys

make phone stuff?” Yes, we certainly do. But we’ve al-

ways been attracted to new and better ways to

make things happen in radio facilities. And

we’ve always looked for opportunities to

make networks of all kinds work for broad-

casters. When DSP was ﬁrst possible, we used

it to ﬁx the ages-old phone hybrid problem. It

was the ﬁrst use of DSP in radio broadcasting.

When ISDN and MP3 ﬁrst happened, we saw

the possibility to make a truly useful codec. We were the

ﬁrst to license and use MP3 and the ﬁrst to incorporate

ISDN into a codec. We were active in the early days of

internet audio, and the ﬁrst to use MP3 on the internet.

Inventing and adapting new technologies for broadcast

is what we’ve always been about. And we’ve always

been marrying audio with networks. It’s been our pas-

sion right from the start. In our genes, if you will. As a

pioneer in broadcast digital audio and DSP, we’ve grown

an R&D team with a lot of creative guys who are open-

eyed to new ideas. So it’s actually quite natural that we

would be playing marriage broker to computer networks

and studio audio.

What you get from this is nearly as hot as a couple

on their wedding night: On one RJ-45, two-way multiple

audio channels, sophisticated control and data capabil-

ity, and built-in computer compatibility. You can use

Livewire as a simple sound card replacement – an audio

interface connecting to a PC with an RJ-45 cable. But

Introduction • vii

Page 8

A Note From The President of Axia

couldn’t communicate in a meaningful way – strange,

considering that PCs everywhere were being networked,

Nearly 20 years ago, I designed my ﬁrst broadcast

console for PR&E. I look back on that time with great

fondness; we were building bullet-proof boards for the

world’s most prestigious broadcasters, making each new

console design bigger and fancier to accommodate a

wider variety of source equipment and programming

styles. The console was the core of the studio; all other

equipment was on the periphery.

Then things changed: the PC found its way into

broadcast audio delivery and production. At ﬁrst, PC

audio applications were simple, used only by budget

stations to reduce operating expenses. But soon the ap-

plications evolved and were embraced by larger stations.

Slowly, the PC was taking center stage in the radio stu-

dio.

Like many, I was captivated by the PC. Stations

retired carts, phonographs, open-reel decks,

cassettes — even more modern digital equip-

ment such as DAT and CD players, replac-

ing all with PC apps. Client/server systems

emerged and entire facilities began using PCs

to provide most – or all – of their recorded

audio. Yet consoles continued to treat PCs as

nothing more than audio peripherals. I knew

that we console designers were going to have to rethink

our designs to deal with computer-centric studios.

During this time, traditional broadcast console com-

panies began producing digital versions. But early digi-

tal consoles were nearly identical in form and function

to their analog predecessors. It took a fresh look from a

European company outside broadcasting to merge two

products – audio routing switchers and broadcast con-

soles – into a central processing engine and attached

control surface. Eventually nearly every console and

routing switcher company followed suit, and a wide va-

riety of digital “engines” and control surfaces ﬂooded

the market.

But, advanced as these integrated systems were, they

still handled computer-based audio sources like their

fast becoming the world’s most popular and powerful

communication tool.

Then a group of Telos engineers developed a method

of using Ethernet to interconnect audio devices, allow-

ing computers and consoles, controllers and peripherals

to interact smoothly and intelligently. Powerful, ﬂex-

ible networks had ﬁnally come to our studios. As with

the transition from carts to computers, the beneﬁts are

many and impressive. A few networked components can

replace routing switchers, consoles, processing periph-

erals, sound cards, distribution amps, selector switches

and myriad related devices.

This deceptively simple networked system costs a

fraction of other approaches, yet has capabilities sur-

passing anything else. The system is modular and can

be used to perform discrete functions in a traditional

environment. Concurrently, it easily scales to

serve both the humblest and the very largest

of facilities. Console, router, and computer

work in harmony.

So, equipped with this new technology

and countless ideas, we launch Axia, the new-

est division of Telos. Axia is all about deliv-

ering innovative networked audio products

to future-minded broadcasters. On behalf of our entire

team, I welcome you as a charter client. Axia is the cul-

mination of nearly 40 man-years of some of the most

ambitious R&D ever applied to the radio industry. And

this is only the beginning. We have more products, in-

novations, and partnerships in the pipeline.

You already know your Axia system is unlike any-

thing else. So it shouldn’t be surprising that your new

system is loaded with new thinking, new approaches,

and new ideas in virtually every conceivable area. Some

concepts will challenge your traditional ideas of studio

audio systems, but we’re certain that once you have ex-

perienced the pleasures of the networked studio, you’ll

never want to go back. And now, for something com-

pletely different...

analog ancestors. Sure, the router and console engine

were now integrated, but the most important studio ele-

ment – the PC – was stuck in the past, interfaced with

Introduction • viii

100-year-old analog technology. The PC and console

Michael “Catﬁsh” Dosch

February 2004

Page 9

Quickstart

The following chapters of this manual will give you

an in-depth understanding of the capabilities of your

new Element, from installation to advanced functions.

But maybe you’re the sort who really doesn’t want to

read a manual – you want to open up the boxes and play!

This Quickstart section isn’t meant to take the place of

the following manual chapters, but it will help you get

everything connected fast, and point you to the parts

of the manual you’ll need to get up and running with a

minimum of fuss.

on the switch.

Packed with your Element is a cable with 6-pin

Molex™ connectors. This is the power/commu-

nications cable. Lift the Element meter panel and

connect the end of the cable without the strain

relief to the corresponding port on the Element

connection panel. Connect the other end of the

cable to one of the jacks labeled “48VDC OUT-

PUT & COMM” on the back of your Element

GPIO Node/Power Supply unit.

Connect all Audio Node power cords and plug

them into your studio’s power receptacles.

“Capture” your console using the instructions in

Chapter 1, Page 3 of this manual.

Follow the instructions found in Chapter 1 to

conﬁgure IP address settings for El-

ement and the StudioEngine.

Refer to the User’s Manuals

packed with your other Axia

Audio Nodes for information on

how to conﬁgure IP addresses for

these units.

Making Connections

You’ve probably unpacked your boxes and are sitting

next to a pile of Axia gear, wondereing what to do ﬁrst.

Take a look at the diagram above: it represents a typ-

ical Livewire-connected radio studio. Here’s what you

should do to get going:

Using CAT.5e or CAT.6 Ethernet cable, connect

all of your Axia Audio Nodes (Analog, AES/EBU,

Microphone and Router Selector) to 100Base-T

ports on your studio’s Ethernet switch.

Use CAT.6 Ethernet cable to connect your

StudioEngine to a Gigabit (1000Base-T) port on

the switch.

Use another CAT.5e or CAT.6 cable to connect

the Ethernet port on the back of the Element

GPIO Node/Power Supply to a 100Base-T port

Software Setup

When you’ve completed physi-

cally connecting your Axia hardware, read through the

remainder of this manual to begin conﬁguring the soft-

ware options that determine how your new Element will

operate.

Chapter 2, “Conﬁguring Inputs,” explains how to

•

generate Source Proﬁles and construct backfeeds for

selected sources.

Chapter 3, “Conﬁguring GPIO,” tells how to associ-

•

ate routable logic commands with any audio source.

Chapter 4, “Element Operations,” takes you under

•

the hood to explore in-depth software options.

Chapter 5, “Show Proﬁles,” illustrates how to set and

•

save unique “snapshots” tailored for speciﬁc opera-

tional situations that can be recalled whenever the

need arises.

Enjoy your new Element! q

Introduction • ix

Page 10

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t     acn

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Introduction • x

Page 11

Chapter One:

Setup and Connections

Introduction

There’s nothing quite as much fun as taking some-

thing new out of its box. That sense of excitement as

protective packaging is stripped away; that “new gear”

smell… it’s exhilarating!

If you’re reading this, there’s a 99.9836% chance that

you’ve done just that, and are now sitting in the middle

of a room surrounded by packing material and a large

wooden crate, admiring your new Element, its GPIO

Node/Power Supply and StudioEngine — and wonder-

ing what to do next.

But before you dig in, be advised that you need to

assemble the rest of your Livewire network ﬁrst. Be-

cause so much of the Element conﬁguration process de-

pends upon having access to audio sources and destina-

tions, you must connect and conﬁgure your other Axia

peripherals (Audio Nodes, GPIO Nodes, Router Selec-

tors, etc.) prior to conﬁguring Element, according to the

instructions supplied with each. Once you’ve done that,

come on back and we’ll get started.

Be Prepared

This chapter will show you how to get you up and

running. We’ll install the Element console and its power

supply ﬁrst, followed by the StudioEngine.

Before you dive into the hardware, you’ll need to de-

termine a range of IP addresses to assign to each studio

and log each device’s IP as you assign it; Appendix F

contains an IP Assignment Worksheet you can use for

this purpose. IP addresses used in an Axia network must

be valid Unicast IP addresses. Determine your network’s

subnet mask settings at the same time (typically this val-

ue is set at 255.255.255.0 for intranet applications).

Unicast vs. Multicast IP Addresses: Data is routed over IP networks in one of two ways: point-to-point unicast or multicast.

Livewire devices use common TCP/IP unicast IP addresses for control and web browser access. These are numbers you assign within the range used by your network. Since most Livewire networks are not intended to be accessed via the Internet, we recommend you use the non-routable IP addresses in the range of

192.168.0.0 to 192.168.255.255. These IP ad-

dresses have been set aside specically for use

with local networks.

Multicast allows ef cient one-to-many connections, so Livewire uses that for its audio streams, source advertising, and synchronization signals. You do not need to assign these multicast addresses because the system does this automatically.

For more information on network construction, please refer to our companion Introduction to Livewire: System Design Reference and Primer available at www.AxiaAudio.com/downloads/ .

To install Element in your studio furniture, you’ll

need to prepare a cutout in the countertop. A dimen-

sional drawing with all pertinent measurements is found

just prior to this manual’s Appendix A. Make certain that

there’s adequate clearance inside the furniture for the

required power cable entry into the console; knockout

plugs are located at both bottom rear corners of Element

for cable routing access.

To conﬁgure Element, you’ll need a computer. Any

Windows desktop or notebook PC with an Ethernet port

and a standard Internet browser is acceptable.

For cable connections, CAT. 6 Ethernet cable is re-

quired. Axia strongly recommends shielded CAT. 6 if

your studio design calls for cable runs through areas

containing high levels of RF. (For greater detail on ca-

ble selections, we again recommend you read The Axia

Guide to Choosing Category Cable available from www.

AxiaAudio.com/tech/ .)

Always make certain that power has been applied to

your studio’s Ethernet switch before powering any other

Axia components.

1: Setup & Connections • 1

Page 12

Element Preliminary Setup

If you haven’t done so yet, it’s time to get your

Element out of its packing crate. This is a two-person

job, so grab a partner.

Important: Like any electronic device, Element can be affected by static electricity. Use of a personal grounding device is strongly recommended during transport.

Position one person at each end of Element and,

grasping the metal enclosure at the bottom, simulta-

neously lift upward out of the shipping crate. Remove

packing materials and store them in the crate for future

use. Carefully lower Element into your counter top cut-

out, taking care to lower both sides at an equal rate to

avoid becoming jammed in the cabinetry.

Important: Element is a drop-in style control surface and requires a countertop cutout. For cutout dimensions, please refer to Appendix A.

Important: Your Element MUST be grounded. Grounding reduces the risk of electric

shock by providing a “path of least resistance” for electric current. Improper grounding can result in a risk of electric shock.

Check with a qualied electrician if you are in

doubt about how to properly ground this equipment. If your local electrical code prohibits the use of a Station Ground for this purpose, as de-

scribed above, use the specic “Safety Ground”

your local regulations mandate.

Rack-mount the GPIO Node/Power Supply unit

and connect it to a 100Base-T port on your studio’s

Ethernet switch using CAT. 6 cable. Do not power up

the Power Supply yet.

Figure 1-2: Accessing Element’s connection panel.

Unpack the GPIO Node/Power Supply that came

with your Element and place it in its rack.

Connections and IP Conguration

Connections

Cable connections for Element are entirely different

from any other mixing surface you may be familiar with.

There are no audio inputs; Element needs only a single

data / power connection to operate.

Element must be connected to a grounded metal per-

manent wiring system or other equipment grounding

conductor using the threaded grounding stud located

inside the connections bay. Open the bay by ﬂipping

open the overbridge above the faders, as shown in

Figure 1-2. For ground sources, we recommend, in

order of preference:

“Station Ground,” the heavy copper strap found in

the walls and ﬂoors of many radio studios.

VGA

Display

Ethernet

Port

GPIO Por ts DC Power - CANbus to Element

Figure 1-1: Rear panel of Element GPIO/Power Supply showing connections.

1: Setup & Connections • 2

Page 13

AC Safety Ground — the “3rd prong” of a nearby

outlet.

A bonded electrical conduit.

#12 AWG GREEN stranded wire is the minimum

wire gauge acceptable for grounding Element.

Figure 1-3: Locating the grounding stud.

One end of the Element power / communication ca-

ble is ﬁtted with a strain relief. Connect this end to

any one of the four Molex connectors on the back of

the Element GPIO Node/Power Supply. Connect the

other end to the Molex socket on the Element con-

nection panel.

ports on the Element connection panel to an Ethernet switch. These ports are for con-

nection of Element fader and accessory modules only; connecting them to a powered Ethernet switch could damage the board’s electronics and void your warranty.

What is CANbus? Controller Area Network (CAN) is a multicast shared serial bus standard, originally developed in the 1980s by Robert Bosch GmbH, for connecting electronic control units (ECUs). Although initially created for automotive purposes, nowadays it is used in many embedded control applications.

The CAN data link layer protocol is standardized

in ISO 11898-1 (2003).

Whew, that was hard work. Better have a beer. (We’ll

have one for you, too.)

“Capturing” Your Console

Upon power-up of your Element, some or all of

the alphanumeric displays above the faders may read

INACTIVE. This means that the Element CPU must be

initialized. To do this, you’ll need to enter Capture Mode.

The way you’ll do this depends on whether the standard

Monitor Module or the Monitor + 2-Fader Module is in-

stalled in your Element.

Figure 1- 4: Detail of data/communication cable ends.

Connect a VGA monitor to the VGA connector on

the back of the Element GPIO/Power Supply.

IMPORTANT: Element’s power cable is also host to all data communication between the actual surface and its CPU (housed in the Element Power Supply/GPIO Node) by CANbus technology; it does not require a separate Ethernet connection. Never connect any of the RJ-45

Figure 1-5: Element connection panel. Circled

connector is for power/data cable; RJ-45’s connect to

fader and accessory modules.

Figure 1- 6: Identifying the Standard Monitor Module

(left) and Monitor + 2-Fader Module (right).

“Capturing” using the Standard Monitor Module

Press and hold the Help key on the Monitor Module

for 5 seconds. The alphanumeric displays will change

1: Setup & Connections • 3

Page 14

to read Capture Mode; this enumerates all of the in-

stalled faders in the control surface.

Now, make sure that LED displays above the faders

display the channel numbers in the order you desire. If

not, you can adjust them individually using the PGM1

and PGM2 buttons above each fader to change the chan-

nel number to the one you desire. Note that even though

the hardware will let you assign channel numbers as

high as 64, numbers greater than 28 should not be used.

When you’re done adjusting displays, press the 8

(enter) key to exit Capture Mode. Your Element is

ready to use.

“Capturing” using the Monitor + 2-Fader Module

Press and hold both the * (star) and “2” keys on the

Monitor Module numeric pad for 5 seconds. The alpha-

numeric displays will change to read Capture Mode;

this enumerates all of the installed faders in the control

surface.

Now, make sure that LED displays above the faders

display the channel numbers in the order you desire. If

not, you can adjust them individually using the PGM1

and PGM2 buttons above each fader to change the chan-

nel number to the one you desire. Note that even though

the hardware will let you assign channel numbers as

high as 64, numbers greater than 28 should not be used.

indicator. Pressing the fader’s PGM1 and PGM2 keys will change the numeric indicator, indicating the “Master” to which this fader is now slaved; a display reading 2’ means that the fader is slaved to fader 2.

Pressing the Options key again returns the fader to non-mirrored mode.

Short Navigation Tutorial

There are several different ways to change on-screen

options. The ﬁrst way is with Element’s SoftKnobs, lo-

cated directly above the Monitor Module and shown in

Figure 1-7.

Figure 1-7: Element SoftKnobs.

These knobs are context-sensitive. When any of Ele-

ment’s setup modes are activated using the options keys

on the faders or Master Module, you’ll see a correspond-

ing row of “knobs” represented onscreen, as shown in

Figure 1-8.

When you’re done adjusting displays, press the #

(pound) key to exit Capture Mode. Your Element is

ready to use.

Hello Moto: If you have motorized faders, you can “mirror” other motorized faders while you are in Capture Mode. A motorized fader that is

“slaved” to a master fader will move automati-

cally to mirror the movements of the master. Mirrored faders both control gain for the same source, but the master can override the setting of the slave — useful for “split” Element setups where talent has a local set of faders that may be used to control cer tain sources, but you still want the Board Operator to have master control.

To mirror a fader, press the Options key above

the fader you wish to make the “slave”. An apostrophe (‘) will be displayed next to its numeric

1: Setup & Connections • 4

Figure 1-8: On-screen SoftKnobs.

Note that there are sometimes functions shown both

above and below the on-screen SoftKnobs. When a func-

tion is presented above the knob, turning that knob ac-

complishes that function. When a function is presented

below the knob, pushing in gently on the corresponding

SoftKnob activates that function. The example shown in

Figure 1-8 is from the IP Address Book screen.

If your Element is equipped with the standard Moni-

tor Module, you can also navigate using the control knob,

directional keys and Enter key located at the lower right-

hand corner of the module, as shown in Figure 1-9.

Page 15

Additionally, whenever numeric input is required

(like entering IP addresses), you can use the numeric

keypad located just above the Navigation Keys (Figure

1-10) to enter numbers directly.

Figure 1-10: Master Module numeric keypad.

IP Address Conguration

Using your IP Assignment Worksheet, you’ll

now choose an IP address for both your Element and

StudioEngine. You must make sure that IP addresses

for both Engine and Surface are in the same IP network,

and are both valid Unicast addresses. For example:

tions on the Monitor Module. Press and hold the key

marked Fader Options located in the top right corner

of the module for ﬁve seconds to enter the IP Address

Book (Figure 1-11).

192.168.2.101: Engine

192.168.2.201: Surface

Both addresses belong to 192.168.2.x IP network,

and so will work for our application.

Note: “Gateway” settings on Livewire equipment are optional. They may be lef t blank unless you intend to access the StudioEngine’s

conguration utility remotely, from outside your

network. Should you desire to do so, enter the IP address of your master router (the one with external network connections) whenever you’re given the option to enter a gateway IP address.

Note: Element v2.x software supports redun-

dant NTP servers. Use the second eld in the IP

Address Book to enter the address of a backup server.

Once you’ve determined the IP addresses you’ll as-

sign, turn on the Element power supply and the attached

VGA monitor.

Setting IP using the Standard Monitor Module

When Element has completed its start cycle (meter

screen appears), ﬁnd the section marked Global Op-

Figure 1-11: IP Address Book,

Standar d Monitor Module

To set the IP address, rotate the leftmost SoftKnob to

highlight the line titled “Element IP Address” and push

the knob to select that line. Now use the numeric pad to

enter the IP address. Press the leftmost SoftKey again

to “take” the new IP value. Repeat this process to set the

subnet mask value.

Continue down the screen and, in the same way, en-

ter the other ﬁelds’ values as appropriate.

Rotate the Select/Set SoftKnob to scroll through

•

the list of available options. To select an option to

modify, push this knob. While modifying an options,

rotate the knob to change an option’s value, and push

the knob to move to the next ﬁeld. Available options

include:

Element IP Address: Every piece of Livewire

gear must have its own unique IP Address. Set

the IP Address for each Element in this ﬁeld.

1: Setup & Connections • 5

Page 16

Subnet Mask: Enter your network’s subnet

mask value here, usually 255.255.255.0

Gateway IP Address: To enable remote admin-

stration of your Livewire network, you’ll need a

network gateway. If you have one installed, enter

its IP Address value here.

Engine IP Address: Each Axia control surface

controls a unique Studio Engine. Enter the IP of

the controlled Engine here.

1st NTP Server IP Address: Element supports

NTP (Network Time Protocol) timekeeping to

synchronize time-of-day clocks across your fa-

cility. If you have an NTP server, enter its IP Ad-

dress here.

2nd NTP Server IP Address: Element v2.x

software supports redundant NTP servers. Enter

the IP Address of your backup server here.

Web Page User Password: You can password-

protect your Element’s webserver connection by

entering a numeric password here.

(meter screen appears), ﬁnd the numeric keypad at the

top right of the Monitor Module. Press and hold the *

(star), “7” & “4” keys simultaneously for ﬁve seconds

to enter the IP Address Book (Figure 1-12).

1: Setup & Connections • 6

Note: If you set a password for HTTP access,

you will not see your password displayed in this

eld upon re-entering the IP Address book. This

is a security feature intended to prevent “overthe-shoulder” password thef t.

If you want to reverse changes you’ve made and haven’t

•

saved, press the Undo knob to erase them.

Press Reboot to immediately reboot the Element.

•

Press Save to save changes you’ve made.

•

Press Exit to leave the IP Address Book.

•

Note: After making changes to any Element IP address settings, you must reboot the console. Use the “REBOOT” soft key to begin an immediate reboot sequence.

Remember, you can even reboot Element while on-the-air, since the audio mixing is not done in the console but in the Studio Engine; your audio will continue to play without interruption.

Setting IP using the Monitor+ 2-Fader Module

When Element has completed its start cycle

Figure 1-12: IP Address Book,

Monitor Module

To set the IP address, rotate the leftmost SoftKnob to

highlight the line titled “Element IP Address” and push

the knob to select that line. Now use the numeric pad to

enter the IP address. Press the leftmost SoftKey again

to “take” the new IP value. Repeat this process to set the

subnet mask value.

Continue down the screen and, in the same way, en-

ter the other ﬁelds’ values as appropriate.

Rotate the Select/Set SoftKnob to scroll through

•

the list of available options. To select an option to

modify, push this knob. While modifying an options,

rotate the knob to change an option’s value, and push

the knob to move to the next ﬁeld. Available options

include:

Element IP Address: Every piece of Livewire

gear must have its own unique IP Address. Set

the IP Address for each Element in this ﬁeld.

Page 17

Subnet Mask: Enter your network’s subnet

mask value here, usually 255.255.255.0

Gateway IP Address: To enable remote admin-

stration of your Livewire network, you’ll need a

network gateway. If you have one installed, enter

its IP Address value here.

Engine IP Address: Each Axia control surface

controls a unique Studio Engine. Enter the IP of

the controlled Engine here.

1st NTP Server IP Address: Element supports

NTP (Network Time Protocol) timekeeping to

synchronize time-of-day clocks across your fa-

cility. If you have an NTP server, enter its IP Ad-

dress here.

2nd NTP Server IP Address: Element v2.x

software supports redundant NTP servers. Enter

the IP Address of your backup server here.

Web Page User Password: You can password-

protect your Element’s webserver connection by

entering a numeric password here.

Clock Conguration

Locate the Timer section of the Monitor Module;

press and hold the key marked Options to enter the

Clock & Timer Options screen (Figure 1-13).

Note: If you set a password for HTTP access, you will not see your password displayed in this

eld upon re-entering the IP Address book. This

is a security feature intended to prevent “overthe-shoulder” password thef t.

Rotating the Action knob choosees between the fol-

•

lowing options:

Save stores the changes you’ve made to the IP

Address Book.

Undo reverses any changes you’ve made if you

haven’t yet saved them.

Reboot immediately reboots the Element.

Press the Exit knob to leave the IP Address Book.

•

Note: After making changes to any Element IP address settings, you must reboot the console. Use the “REBOOT” soft key to begin an immediate reboot sequence.

Remember, you can even reboot Element while on-the-air, since the audio mixing is not done in the console but in the Studio Engine; your audio will continue to play without interruption.

Figure 1-13: Clock & Timer Options menu screen.

Rotate the Select/Set SoftKnob to scroll through

•

the list of available options. To select an option to

modify, push this knob. Rotate the knob to change an

option’s value, and push the knob when you’re done

to move to other ﬁelds. Available options include:

Set Time Of Day Clock: If you do not have an

NTP (Network Time Protocol) server conﬁgured

as part of your Livewire IP-Audio network, use

this option to set the correct time for Element’s

on-screen clock.

Set Calendar Date: Choose this option to set

Element’s on-screen calendar.

NTP On/Off: If you have an NTP server tied to

your IP-Audio network, set this option On. If you

do not, or if your NTP server is supplying incor-

rect time data, turn this option Off to keep time

with Element’s internal clock.

12/24-Hour Format: This option switches the

1: Setup & Connections • 7

Page 18

on-screen time display between 12-hour (normal-

style) and 24-hour (military-style) timekeeping.

Time Zone GMT+: Use this ﬁeld to set the glob-

al time zone your station is located in, relative to

Greenwich Mean Time.

Push the Save knob to commit to the changes you’ve

•

made. You may do this at any time, after changing

any option to apply the change immediately.

Push the Exit knob to leave the Clock & Timer Op-

•

tions screen.

Time And A Word: The term “Greenwich Mean Time” refers to Britain’s Royal Greenwich Obser-

vatory, which lies athwart the Prime Meridian.

Time at this location is referred to as “base time,”

to which all other time zones are relative. GMT is properly referred to as UTC - “Coordinated Universal Time.”

If you’re at a loss as to what the GMT offset is for your location, a complete list is located online at www.wikipedia.org . Enter a search for

“Time Zone” and scroll down the resulting page.

Countdown From: When the operator enters an

interval of time into this ﬁeld, Element’s count-

down timer will count backwards from this num-

ber to zero upon exit of this screen.

Show Tenths On: Allows you to set the count-

down and elapsed-time counters to show or hide

tenths-of-a-second displays.

A Note About Metering: Element’s bargraph meters feature true VU meter ballistics, though with an expanded scale. The red line at -20dBFS corresponds to the 0dB mark on a traditional analog meter. Just as with a traditional analog

meter, the 300ms time-constant lter specied in the VU standard means that peaks are

much higher than the meter indicates. Depending upon the nature of the program material, transient peaks will be 9-15dB higher than the VU-ltered average. This is why modern consoles, including Element, have 20dB headroom above the nominal operating level. Some of this headroom is used to cover the peak transients the VU meter can’t see, and some is used for operator error or surprise margin. (ie, the wellknown “excited sportscaster scream”.)

By default, Element meters are set to display both average and peak levels, the average being represented by the main bargraph display,

and the peaks represented by the small oating

line that appears above them.

The next section will walk you through setting up

your StudioEngine.

StudioEngine Quick Setup

Connections and IP Conguration

Connections

Note: We recommend leaving 1RU of “breath- ing space” for ventilation above and below the

StudioEngine when you rack-mount the unit.

Using the supplied AC power cord, connect the

StudioEngine to the mains. Route a length of CAT- 6 ca-

ble from StudioEngine to a Gigabit port on your studio’s

Ethernet switch, but don’t connect it yet.

IP Conguration

Power on your StudioEngine; the front-panel display

will indicate the boot-up sequence. When the screen

displays IP address and network connection informa-

tion, push the control knob to call the Main Menu.

Turn the control knob to highlight Option #4, IP

Settings (Figure 1-14), and push to select.

Figure 1-14: StudioEngine IP conguration screen.

Show Meter Peaks: Allows you to turn Ele-

ment’s Peak meter display on or off. Yes dis-

plays peaks; No does not.

1: Setup & Connections • 8

Push the control knob and you’ll see that the ﬁrst

line of the display (marked Net Addr) is underlined.

Push the knob again to select this line.

You’ll see a ﬂashing underline under the ﬁrst digit

Page 19

of the IP address. Push and rotate the control knob

to select the value for this digit. Push again to “take”

the value.

Continue this sequence until your IP address is prop-

erly entered. When ﬁnished, turn the control knob

until the check mark at the end of the line is high-

lighted, and push the knob to apply the new IP ad-

dress value.

When you’ve set the subnet mask and gateway IP ad-

dress, choose OK at the bottom of the screen.

You’ll be asked if you’d like to reboot for changes

to take effect. select YES and connect the Ethernet

cable to your StudioEngine.

Secret Button Function: Here it is, the rst

of many “secret” controls hidden about Element and meant for your Engineering eyes only.

If, during bootup, you press the StudioEngine’s control knob within 6 secs of the initial screen display, you’ll be asked if you want to reset the front panel and HT TP passwords to factor y default. This is your “backdoor” into the system should you forget the login password to the front panel. Changing these passwords forces a reboot.

devices generate? Think about how many audio sources

and destinations there are in even a small studio — there

are a lot to keep track of. In the analog days, we’d afﬁx

a numbered label to each cable that entered the terminal

room to identify each audio circuit. Obviously, we can’t

attach pieces of paper to digital packet streams, but we

can give each one a “label.”

We refer to these “labels” as Network Channel Num-

bers. Each Livewire system can support 32,766 channels

of audio, which enables us to give each audio source or

destination its own unique numeric channel number.

Note: 32,000+ channel numbers exceeds the average human’s RAM storage capacity. We recommend using a spreadsheet program — just to make sure you don’t generate painful readmemory register errors.

As soon as you connected your StudioEngine to the

network (following the steps in the previous section), it

began to generate audio using factory default channel

numbers. To avoid conﬂict with other studios, you must

change those default values to new channel numbers.

StudioEngine Channel Settings

For the next steps we’ll be using the StudioEngine’s

HTTP interface, so connect a computer loaded with

an Internet browser to the local switch. This computer

should have an IP address in the same range assigned to

the Element and StudioEngine.

Note: Axia web interfaces have been tested with Microsoft Internet Explorer, version 5 or later, but may also work with other browsers.

Whatever browser you choose, Java must be

enabled and your pop-up blocker, if any, must be disabled in order to work with A xia

equipment.

Note that Windows Vista versions do not have

Java installed by default as in prior versions.

You must install the Sun Java package found at http://www.java.com .

In a Livewire network, individual devices (audio

nodes, studio controllers, etc.) are identiﬁed by unique

IP addresses. But what about the audio streams these

Figure 1-13: StudioEngine Output conguration

Open the browser on your computer and point it to the

IP address you previously set for your StudioEngine.

Choose the Program And Monitor Outputs menu

option to conﬁgure the output buses of the Element.

1: Setup & Connections • 9

Page 20

You’ll be prompted to enter a user name and pass-

word. The default user name is “user”. Leave the

password ﬁeld blank.

You’ll see the screen shown in Figure 1-13, This

screen allows you to set channel numbers for all of

the audio outputs generated by Element; program

and record busses, monitor feeds, and talkback

destinations. Work down the list, assign each one

a unique channel number and record them in your

channel number log.

Find the column entitled Mode. Each Studio Engine

is shipped with the most common streams enabled

with Live Stereo mode. Make sure all of your de-

sired streams are enabled.

Choose Apply.

A word about stream types: There are

several different types of streams available in the Mode dropdown box: Live Ste-

reo, Medium Stereo, Standard Stereo and Surround.

Live Stereo was previously referred to as Livestreams. Use Live Stereo streams when-

ever you need the lowest latency for on-air feeds, mic-to-headphone paths, etc.

Medium Stereo is our recommended default for everything else. This setting balances low latency with high compatibility for systems containing PC playout systems.

Standard Stereo

best

compatiblity with older PC systems, but the tradeoff is that these streams have a higher amount of latency.

Surround Streams: Element can mix both Stereo and Surround (5.1) audio. If you’re feeding the system with a 5.1 audio source, choose the Surround option.

is intended to provide the

Note: Manual setting of console type is only necessary on Element consoles running software versions prior to v2.0. In Elements running v2.0 or higher, this setting will auto-detect.

Advanced Settings

You’ve no doubt noticed that there are many more

options for your Element and StudioEngine than we’ve

covered here. That’s because Chapter One was meant to

get you up and running as quickly as possible. For

depth explanation of the other available settings,

an in-

please

refer to Chapters 7 & 8 of this manual.

What’s Next

Take a break! You’re done with initial set-up. When

you’re ready, continue to the next chapter to walk

through one of the most important Element concepts:

Source Proﬁles. q

Set Your Console Type

Axia StudioEngines will work with different types of

consoles, so you need to tell it which type you’re pairing

it with.

Navigate to the “Engine ID” menu and ﬁnd the “Ap-

plication Interface Options” section. Be sure that

Element

Click

is checked for the “Console Type”.

Apply

1: Setup & Connections • 10

Page 21

Chapter Two:

Conﬁguring Inputs

In this chapter we’ll discuss how to set up inputs for

your Element. You’ll be using the HTTP servers built

into the Element and StudioEngine to do this.

Note: Axia web interfaces have been tested with Microsoft Internet Explorer, version 5 or later, but also work with other browsers.

We also like Mozilla’s FireFox browser, especially with regards to its “tabbed browsing” capabilities. With tabbed browsing, it’s possible to bookmark the IP addressees of entire rooms worth of Audio Nodes, then recall them in tabbed groups with a single click.

Whatever browser you choose, Java must be installed and enabled, and your pop-up blocker must be disabled. The latest Java package is available at http://www.java.com .

Understanding Source Proﬁles

One of the most repetitive and tedious parts of studio

building has always been tying “data” to audio sources.

Consider the wiring of line selector modules: you need

a cable for the remote audio source, a set of wires for a

“start” closure, another set for “stop” — even with TDM

routers, an operation as seemingly simple as logic-fol-

lows-audio often turns out to be not so simple.

Element Source Proﬁles allow you to assign modi-

ﬁers to an audio input. Characteristics like EQ curves,

Pan trim, voice dynamics, even mix-minus source selec-

tions, can all be set in the Source Proﬁle and are then

automatically loaded whenever that source is assigned

to an Element fader.

The result of all this is that Element is always pre-

sented with complete, consistent information about how

you want a given audio source handled.

Note: Source Prole settings do not transfer

between studios. In other words, a mic in Studio A that has EQ and dynamics applied through

a Source Prole on the Studio A Element will

not have those settings automatically applied if that mic is loaded on the Element in Studio B. We are, however, planning on this capability in future versions.

Source Proﬁle Setup

Now that you understand what Source Proﬁles do,

let’s set one up. You’ll use the Element and StudioEngine

HTTP interfaces to do this, so connect a computer with

an Internet browser to the local switch.

Note: You can’t construct Source Proles unless you’ve already congured the inputs and

outputs of your studio’s Audio Nodes. Be sure you’ve assigned Livewire channel numbers and enabled all sources in your Nodes, Engine, and PC drivers. This will make your sources visible

on the selection list in the source prole setup

screen. Make sure you’ve done this before proceeding further through this chapter.

Mix-minus and IFB generation is also a problem.

Too often it’s a complicated process that requires air tal-

ent to correctly determine source and bus assignments at

a moment’s notice. How many times has unwanted audio

made air thanks to this error-prone procedure?

Element eliminates these headaches by letting you

merge audio, logic and program data into a single,

routable information stream. Since audio in a Livewire

network is transported as packetized data, it’s easy for

us to “piggyback” other data along with audio. This is

accomplished through the use of Source Proﬁles.

Your computer must be assigned a valid network IP

address in order to “see” Livewire web pages. Livewire

networks do not contain DHCP servers, so you must

manually assign your computer an IP address within

the range you previously determined for your network.

Different operating systems use different methods to do

this; please consult your OS’s documentation for spe-

ciﬁc instructions.

Source Prole Options

Enter the IP address of your Element in your browser;

2: Conguring Inputs • 11

Page 22

2: Conguring Inputs • 12

you’ll see the “Element Control Center” displayed

onscreen. Using the sidebar menu, choose the “Con-

ﬁguration” menu item under the “Sources & Proﬁles”

heading. Enter your password in the box (default is

“user”) and click OK.

Choose the Source proles menu item from the

main screen, and click the New Source Prole link

at the bottom of the screen. You’re now in the Source

Proﬁle creation screen.

Reminder: Did you dene your audio sources

from the Engine and Nodes as outlined in Chapter One? If not, go no further – you’ve got to do

that before you can continue with Source Prole

setup.

PRIMARY SOURCE: All of the audio sources that

•

you previously deﬁned (during Audio Node setup)

are available in this drop-down box; pick one.

SOURCE PROFILE NAME: Type a 10-character de-

•

scriptive name for your source.

SOURCE NAME OVERRIDE: If the source you’re

•

deﬁning can supply Program Associated Data (for

instance, a computer playout system that sends song/

artist information), you can choose to have that text

dynamically substituted in the alphanumeric dis-

play of the fader the source is assigned to. Instead

of reading PROPHET_1, for example, it could scroll

FERGIE.

Choose Show Sourcename to have the channel

alpha display the name you typed into the Source

Proﬁle Name ﬁeld above.

Choose Allow Application to Override if you’d

like the PAD text displayed instead.

Choose Show Both to scroll the Source Name

followed by the PAD text across the alpha dis-

play.

SOURCE AVAILABILITY: These check boxes de-

•

termine which faders (or other inputs) you’ll allow

this source to be assigned to. For example, if your

source is a Control Room mic, and you only want

it to appear on the left-most fader, you would check

only the box marked Channel 1. You might want to

make a CD player available on any fader, so you’d

check the boxes for all faders. Some sources – es-

pecially air monitors – you might wish to prevent

from ever being assigned to a fader, so you would

uncheck the boxes for all faders. The number of fad-

er checkboxes show will vary depending upon the

number of faders installed in your Element.

The four ﬁnal check boxes, CR monitor input, CR

headphone input, Studio monitor input and V-

Mixer input determine whether the board op will

be able to assign this source to the monitor and head-

phone buses or the Virtual Mixer (please see Chapter

6: Virtual Mixer for details on this feature).

To prevent a source from appearing on these inputs’

selection lists, uncheck the desired box.

About Mics and Headphone Feeds: Element provides you with several headphone options, all selectable from Element’s Monitor Module. The Monitor 1 (control room) headphone output provides a feed intended for the Host (board-op’s) mic position and includes the ability to monitor the Preview bus in headphones. Guests can talk to the host directly using the Talkback keys on their remote control panels.

The Monitor 2 headphone output sends au-

dio to talent and guest mic positions. Talent positions include a talkback channel that the host or board op can use to communicate using the Talk To Monitor 2 function (guest positions do not have this Talkback channel).

An individual headphone feed can also be constructed to associate a dedicated headphone

channel with a specic mic. This allows the

board op to send individual, targeted talkback

to a specic individual (using the Talkback

keys) without other talent or guests hearing.

SOURCE TYPE: Deﬁne your source as a micro-

•

phone, a line input, a telephone input, a codec or a

computer source.

Operator is the board operator’s mic. It is the

source mic for Element’s TALK TO functions. Its

On button serves as a COUGH/MUTE button. Its

associated logic mutes the CR monitors when

On.

CR Producer is used for in-studio Producer’s

mic positions. It has associated GPIO logic

Page 23

which can operate Talk to... functions from a

remote producer’s panel. It also mutes CR moni-

tors when On.

CR Guest is used for any other guest mic in the

control room. Its associated logic port mutes the

CR monitors when On. It can have an individual

headphone feed.

Studio Guest is used for any mic located in a

separate studio. Its logic mutes the Studio moni-

tors when On. It can have an individual head-

phone feed.

Line is used for any line input audio source, ana-

log or digital. A GPIO logic port can be used to

provide machine start/stop pulses if desired.

Phone deﬁnes this source as a hybrid or broad-

cast phone system input. Summed mono mix-mi-

nus provided.

Codec marks this source as a codec. Dual-mono

mix-minus provided; one PA feed + one talent

feed with talkback.

Computer Player deﬁnes this source as origi-

nating from a PC. Associated GPIO logic can be

used to send start/stop signals to a playout sys-

tem.

About Telos Phone System Modes: Telos

TWOx12, Nx12 and Series 2101 broadast phone

systems work in two different modes: US Mode and Euro Mode.

In US Mode, one of the phone system’s hybrids is assigned to a console faders, and taking a caller to air is accomplished by using a switching control to select a line on that hybrid and turning its fader ON.

In Euro Mode, the swiching control is not used; instead, each line from the phone system is permanently assigned to a separate fader, which may be turned ON or OFF at will.

Element supports both US and Euro modes. The next few settings are used for setting up the desired style of phone operation.

The next 4 options are used for EURO mode only:

PHONE HYBRID IP: If this source is a Telos Nx12,

•

TWOx12, Series 2101 or Telos TWO and you will be

operating in Euro mode, enter the IP address of the

phone system.

Figure 2-1: Source Prole options (yes, there are a lot!)

2: Conguring Inputs • 13

Page 24

Figure 2-2: Set tings for conguring Element for

operation with Telos phone systems

Nx12 Users Note: For Nx12’s second show, you would STILL enter “1” for Hybrid 3 and “2” for Hybrid 4. Why? Because, to Nx12’s internal

logic table, Hybrid 3 is really the rst hybrid in

Show 2 and Hybrid 4 is the second hybrid in Show 2.

CONFERENCING ALLOWED: For Telos Nx12,

•

TWOx12 or Series 2101 operating in US mode. Spec-

iﬁes whether or not “button mash” conferencing is

permitted. Select Yes to allow, No to prohibit.

2: Conguring Inputs • 14

PHONE LINE: If this source is a Telos Nx12,

•

TWOx12, Series 2101 or Telos TWO and you will

be operating in Euro mode and wish to dedicate a

phone line to this fader, enter it here.

PHONE HYBRID (FOR NX12): Even though the

•

option title says “for Nx12”, if this source is a Telos

Nx12, TWOx12 or Series 2101 and you will be oper-

ating in Euro mode, you may specify hybrid 1 - 4 for

this line assignment.

USE 2ND SHOW (SPLIT MODE FOR NX12): Even

•

though the option title says “for Nx12”, if this source

is a Telos Nx12, TWOx12 or Series 2101 and you

will be operating in Euro mode, you may check this

to designate Split Studio Mode, where two hybrids

are assigned to one show, and the other 2 assigned to

a second show. Element will connect to the second

Show in the list.

The next 4 options are used for US mode only:

PHONE MODULE ID: For Telos Nx12, TWOx12 or

•

Series 2101 operating in US mode. If you are con-

structing a Source Proﬁle for a telephone hybrid and

have multiple Phone Modules installed, this allows

you to determine which module will control this hy-

brid. For details on setting up a phone system with

Element, please refer to Appendix D: Working With

Phone Hybrids.

HYBRID NR.: For Telos Nx12, TWOx12 or Series

•

2101 operating in US mode. Specify which hybrid

this Source Proﬁle will control.

FIXED LINE: For Telos Nx12, TWOx12 or Series

•

2101 operating in US mode. When working with a

Telos hybrid that supports it, this command lets you

assign a line permanently to a speciﬁc fader, emulat-

ing a dedicated hybrid.

0 means there is no ﬁxed line assigned.

1 - 24 slaves the speciﬁc line to this source’s

fader.

Note: For complete instructions on set ting up a phone system with Element, please refer to Ap-

pendix D: Working With Phone Hybrids.

FADER MODE: Allows you to set the channel activa-

•

tion method of the fader this source is assigned to.

Normal conforms to the US method of requiring

talent to manually turn the channel on and off.

Fader Start follows the common European

standard of activating the channel and associated

machine logic when the fader is raised from ∞.

PREVIEW SWITCHING MODE: Determines what

•

will happen to a source’s off-air Preview assign-

ment when that source is taken to air.

Normal, Auto-Switching Disabled: The Pre-

view bus assignment will be retained even after

the fader is turned ON.

CHANNEL ON turns Preview OFF: If this

source is assigned to Preview for off-air audi-

tioning, turning its channel ON will cancel its

Preview assignment.

HYBRID ANSWER MODE: This setting allows you

•

to tailor Element’s Hybrid Answer mode to suit your

facility’s operating style.

Page 25

Normal, Auto Answer Disabled: SmartSurface

provides no auto-answer logic when a fader with

a hybrid assigned is turned On.

Channel ON Answers Hybrid: When a hybrid

has an incoming call, turning its assigned fader

ON will answer the call.

Channel ON or Preview ON Answers Hybrid:

When a hybrid has an incoming call, turning its

assigned fader ON or pressing that channel’s

Preview key will answer the call.

BACKWARD FEED ENABLED/DISABLED: Al-

•

lows you to enable or disable backfeeds to this audio

source.

BACKWARD FEED DIM GAIN: This is a feature

•

unique to Element: Talkback is sent over dimmed

backfeed audio. If you want a hard interruption

(Talkback interrupts Program audio), set it to maxi-

mum dim, which mutes the audio. But maybe your

jocks would like to just have their program audio

dimmed, and the Talkback come over it so they can

still monitor air while they’re being talked to. In this

case, input a value by which the program audio will

be dimmed. Adjustment range is 0dB to -30dB.

LOGIC PORT ENABLED/DISABLED: Allows you

•

to enable or disable GPIO machine logic to this au-

dio source device.

GPIO READY ENABLED/DISABLED: Allows de-

•

vices such as CD players or tape machines to sig-

nal their readiness to the operator through the OFF

button LED. If a device is cueing, its STOP lamp

will not be lit. Tying the device’s stop lamp to the

Ready command means that a machine must be cued

and ready before the OFF lamp illuminates.

If Enabled, the OFF lamp illuminates only when the

fader is OFF and the Ready command is active on

the GPIO. If Disabled, the OFF lamp illuminates

normally whenever the fader is turned OFF.

FEED TO SOURCE MODE: If there is a backfeed

•

associated with this source, this option determines

what content is fed back from the board.

Auto (Pgm-1/Phone) feeds the Program 1 bus

(minus the source) when this source’s fader is ON,

and feeds the Phone bus (minus the source) when

the fader is OFF. (Program 1 and 2 feeds are post-

fader; Phone feed is pre-fader to allow speaker-

phone style operation thru the Operator’s mic.

Phone feeds the Phone bus, minus the source.

PGM1 feeds the Program 1 bus, minus the

source.

PGM2 feeds the Program 2 bus, minus the

source.

PGM3 feeds the Program 3 bus, minus the

source.

PGM4 feeds the Program 4 bus, minus the

source.

AUX SEND A the Aux Send A bus, minus the

source.

AUX SEND B feeds the Aux Send B bus, minus

the source.

AUX SEND C feeds the Aux Send C bus, minus

the source.

AUX SEND D feeds the Aux Send D bus, minus

the source.

About the PHONE, RECORD and PROGRAM

4 buses:

cial multi-purpose bus that does several things at once to make life easier for the operator.

Sources assigned to PGM-4 are also sent to the RECORD bus, a special post-fader, pre-on/off output that can be used to feed recording devices.

At the same time, sources assigned to PGM-4 are mixed and sent to the PHONE bus. PHONE is an internal bus which does not feed a separate output; instead, it picks up PGM-4 audio prefader and pre-On/Off and backfeeds it callers (minus themselves, of course) when the channel is OFF and AUTO is selected as the Feed To

Source Mode.

SIGNAL MODE: Determines whether source will be

•

Element ’s PGM-4 mix bus is a spe-

treated as mono or stereo, and how.

Stereo feeds incoming L/R signal to left and

right channels of assigned bus(es).

Left feeds incoming left channel to both chan-

nels of assigned bus(es).

Right feeds incoming right channel to both chan-

nels of assigned bus(es).

2: Conguring Inputs • 15

Page 26

2: Conguring Inputs • 16

Sum creates L+R mono mix of incoming stereo

source and feeds it to both channels of assigned

bus(es).

SIGNAL MODE LOCK: Allows or disallows user’s

•

ability to change the source’s signal mode (as set

above) using controls on Element’s surface.

Unlocked allows the user to change modes if

needed.

Locked prevents changes to the signal mode.

SIGNAL PHASE: Allows for correction of out-of-

•

phase program material.

Normal assumes correct phase polarity of source

input material.

Invert left reverses phase on the left channel

input.

Invert right reverses phase on the right channel

input.

Invert left and right reverses phase on both

channel inputs.

PANORAMA POSITION: Lets you preset pan set-

•

tings for this input. Pan is variable in 25 steps, center

being 0, far left -12 and far right 12. This setting can

be adjusted on the ﬂy by the operator.

AUTO-START TIMER: Determines whether the

•

event timer found in Element’s right-hand meter

display will reset to zero when this source’s fader is

turned on.

Disabled: timer will not reset when this source

is activated.

Enabled timer resets when the source is acti-

vated.

About Element EQ: Equalization is available

for all audio sources, and can be pre-dened or adjusted on-the-y. Our EQ model is three-

band quasi-parametric. Controls are provided for center frequency and boost/cut, with a unique SmartQ™ automatic bandwidth system.

SmartQ works by varying the Q of the selected parametric band proportional to the amount of boost or cut you specify. A small amount of boost or cut will affect a broader range of frequencies for a warm, musically-pleasing effect. As gain is increased the Q sharpens, affecting a narrower

range of frequencies for tighter control of target bands. At aggressive cut levels, the EQ becomes a tunable notch lter. SmartQ keeps the EQ sounding natural at virtually all settings.

Pre-dened EQ can be entered during Source Prole construction, and will be automati-

cally applied whenever that source is assigned to a Element fader; i.e., a -2 dB 12 kHz high

shelf lter pre-set in a microphone’s Source Prole will be applied when any sur face, in

any studio, loads that mic for use.

At-will EQ is set by talent using Element’s Chan- nel Options controls, and can be employed to

trim EQ on-the-y .

•

EQ STATUS: Bypass or make Active EQ for this

source.

•

EQ HIGH MODE: Choose between shelf or band

pass ﬁlter for high-frequency EQ.

•

EQ HIGH FREQUENCY: Sets the active frequency

for high-band EQ. If EQ HIGH MODE is set to Shelf,

this setting determines the top of the shelf. If EQ

HIGH MODE is set to Band pass, this sets the cen-

ter frequency of the BP ﬁlter (SmartQ determines

the width of the BP ﬁlter, as described above).

•

EQ MID FREQUENCY: Sets the center frequency of

the midrange parametric band.

•

EQ LOW FREQUENCY: Sets the center frequency of

the low parametric band.

•

EQ HIGH, MID & LOW GAIN: Provides 40 dB of

adjustment range for boost or cut of the three para-

metric bands, from -25 dB to +15 dB.

The following options dealing with dynam-

ics processor settings apply to Mic, Codec and Phone sources only. If applied to other source types, these settings will be ignored.

•

NOISE GATE STATUS: Turns the voice processor’s

noise gate on and off. Choose Bypass or Active.

•

COMPRESSOR STATUS: Turns the voice proces-

sor’s compressor functions on and off. Choose By-

pass or Active.

Page 27

DE-ESSER STATUS: Turns the voice processor’s de-

•

esser module on and off. Choose Bypass or Active.

NOISE GATE THRESHOLD: Determines the point

•

at which the Noise Gate will operate (if set to Ac-

tive). Adjustment range is between 0dB and -50dB.

COMPRESSOR THRESHOLD: Determines the point

•

at which the Compressor will operate (if set to Ac-

tive). Adjustment range is between 0dB and -30dB.

DE-ESSER THRESHOLD: Determines the point at

•

which the De-Esser will operate (if set to Active).

Adjustment range is between 0dB and -20dB.

COMPRESSOR RATIO: Sets the amount of com-

•

pression that will be applied to the mic audio. Ad-

justment range is between 1:1 and 16:1.

DE-ESSER RATIO: Sets how aggressively the de-

•

esser will remove sibilance from the mic audio. Ad-

justment range is between 1:1 and 8:1.

NOISE GATE DEPTH: Sets the amount of noise

•

reduction that will be applied to the mic audio if

the noise gate is set to Active and the Noise Gate

Threshold is reached. Adjustment range is between

0dB and -30 dB.

COMPRESSOR MODE: Toggles the voice compres-

•

sor between Freeze and No Freeze modes.

What is this stuff? Radio engineers don’t need a lesson in dynamics processing, but for the benet of any jocks reading this, here’s a quick explanation of what these controls can do.

A Gate is a dynamics device whose function is to remove unwanted audio material below a certain threshold. A gain circuit is employed to raise or lower the volume of the audio signal; when the signal falls below a certain set threshold, the audio level drops down to a predetermined level. The reason they are called gates is because when they “close” it sounds as if the audio has suddenly stopped, or has been

“gated.” You might use this on a mic channel to

eliminate background noise during times when you’re not speaking.

Threshold settings determine at what level the processor will begin working. For example, on

a compressor, when signal level exceeds the threshold setting, it will be compressed; below the threshold the signal will remain uncompressed. On a gate, threshold determines the minimum input level required to cause the gate to open up and pass signal; when input level drops below the threshold, the gate will be closed preventing signal from passing. Carefully setting the threshold allows you to very specically control when processing is being applied to a signal.

Compression controls the dynamic range of an audio signal. It generally reduces the volume of very loud audio, helping to keep from “blowing out” the mic channel with too much volume. It can be used to make your mic channel sound

“fatter,” evening out the highs and lows of your

vocal pattern. It can also increase the overall perceived fullness of your voice. Too much compression, however, can make your voice sound

hard and “squashed.” Use it sparingly!

To use compression, you must rst set your

threshold value (usually expressed in dB). When the audio signal is louder than this threshold, its gain is reduced. The amount of gain reduction applied depends on the Compression Ratio setting. For example, with a 2:1 ratio, for every 2 decibels the input signal increases, the output is allowed to increase only 1 decibel.

The Freeze Gate is used to prevent “suck-up”

of room noise during speech pauses. When active, gain is not increased by the compressor when audio is absent. “Freeze” would be the default, since it almost always improves results.

De-Essing is just what you think it is - a way to electronically remove extra sibilance from your mic channel. If your mic is particularly sensitive to “s” and “th-” sounds and accentuates them on-air, De-Essing helps reduce these sounds to more manageable levels. As with compression, too much de-essing will produce annoying and unnatural results - you’ll wind up sounding like

you’re talking through a cotton sock! Stick to

small amounts to get the effect you want.

•

RECORD MODE: This option allows you to

deﬁne how this source is sent to the PGM-4/

Record bus. (Record is a special pre-on/off,

post-fader bus with a special output for a dedicated

recording device.)

Stereo sends both sides of the source to both

sides of the recording device, as normal.

If Phone or Codec Left, otherwise Right

sends the source to the recorder’s left channel

ONLY if the Source Type is deﬁned as Phone or

Codec. Any other Source Type will be fed to the

recorder’s right channel.

Summed-Mono to Left sums the left and right

2: Conguring Inputs • 17

Page 28

sides of the audio source and sends the summed

signal to the recorder’s left channel.

Summed-Mono to Right: Same as above, but

sends summed audio to the recorder’s right chan-

nel.

That’s the last option. Click on the Save Changes

button at the bottom of the page.

Congratulations — you’ve just created your ﬁrst

Source Proﬁle! You can now bring up your new source

on any Element fader.

Adding Backfeeds and GPIO to a Source Prole

Use your Web browser to connect with the Audio

Node you’ll be sending your backfeed to. Choose

Destinations from the main menu to enter the

Destinations screen (Figure 2-3); we’ll set up our-

mix-minus for output #7.

Just to the right of each Channel name box , you’ll

see a “list” icon. Click on the list icon for output #7.

A list of available sources will pop up (Figure 2-4).

Figure 2-4: Picking a sour ce from the list box

Since making a mix-minus and mapping contact clo-

sures is often done at the same time a new Source Proﬁle

is constructed, let’s brieﬂy recap those procedures. (De-

tailed setup and operation instructions for your GPIO

Nodes and Audio Nodes are found in their respective

User Manuals.)

Let’s say you’ve connected a hybrid to your Ana-

log Node, named it “Hybrid”, and assigned it a channel

number of 77. You’ve constructed a Source Proﬁle for it,

and you now want to give it a mix-minus backfeed and

set up a GPIO contact closure for the “take” and “drop”

functions. Here’s how:

Make sure that, in your hybrid’s Source Proﬁle, the

Source Type option is set to “Phone” and the Feed

to Source Mode is set to “Auto”. Also set the Back-

feed Enabled/Disabled option to “Enabled”.

Notice that the names and channel numbers of the

sources are both displayed for easy identiﬁcation.

We’ll choose Hybrid from the list; the list window

closes and you’re returned to the Destinations

screen. The line for output #7 now displays the chan-

nel number and name of the source.

Now comes the step that makes this output a mix-

minus. Each Destination entry line has a drop box

at the end; click on the drop-down and choose To

source.

Automagic: If the hybrid source is loaded to an Engine and the engine is generating a mix minus source already, the list box will show T WO identical channels for the source — but one will have a description of “TO:” in front of it. Selecting this source automatically selects TO SOURCE in the TYPE box.

For a detailed description of these options and

how they operate, please refer to the 8x8 Analog

Node / 8x8 AES Node User’s Manual available at

www.AxiaAudio.com/manuals/ .

2: Conguring Inputs • 18

Figure 2-3: Analog Node Destinations screen

Click Apply.

Now point your browser back to your Element Control

Center page and choose GPIO Conﬁguration from

the menu sidebar. (You may also use a GPIO Node

other than the Power Supply/GPIO that shipped with

your Element, just point your browser to that node’s

IP address instead.)

Page 29

The GPIO setup screen uses the same method of as-

signing devices to ports as the Analog Node. Pick a

port to map your hybrid’s contact closures to, using

the list tool, and click Apply.

The process is complete: you’ve made a Source Pro-

ﬁle for your hybrid, created a mix-minus, mapped it to

an Analog Node audio output, and associated a GPIO

contact closure with the source.

To conﬁrm, choose the Options key at the top of any

Element fader channel and load your new Phone source.

Now press the Talk key just below the fader; you’ll see

the Status Symbol shown in Figure 2-5 appear in the

window above the channel to indicate that the operator’s

mic is talking to this telephone hybrid through it’s back-

feed channel. (Status Symbols are described in detail at

the end of Chapter Four, “Element Operations”.)

What's Next

When you’re ready, join us in Chapter Three for more

detail about setting up logic commands and GPIO ports

for your audio sources. q

Figure 2-5: Status Symbol indicates mix-minus/

talkback feed to phone source.

Also, take another look at the GPIO screen on your

browser. Note the green indicators that have appeared

on the port representing your hybrid; switch the Element

channel on and off and you’ll observe the active tally

change pins (as shown in Figure 2-6).

Figure 2-6: GPIO status indicators

2: Conguring Inputs • 19

Page 30

CAT.6, m n ,

 dt n n r rt.

Eler .

2: Conguring Inputs • 20

Page 31

GPIO Port Deﬁnitions

Chapter Three:

Conﬁguring GPIO

Since the days of rotary-switch source selectors, it’s

been a challenge to properly route machine logic along

with audio. Some complicated schemes have been de-

vised over the years, but broadcasters wanted a simple,

fast way to associate logic with audio in a routable en-

vironment.

Since the Axia IP-Audio system was designed as

a true computer network, we were able to start with a

clean sheet of paper to design the ﬁrst truly routable ma-

chine logic/audio interface. Unlike conventional logic

connections which require each command circuit to be

wired individually, Axia sends machine controls over

the same Ethernet your audio travels on, further reduc-

ing infrastructure, cost and tedium.

Along with controlling external audio devices,

Element’s GPIO interface also includes logic commands

for routine studio/control room operations such as tally

lights, monitor muting, On-Air lights and more.

This chapter explains how to set up Element GPIO

to handle these functions. (We assume you’ve already

read the GPIO Node User’s Manual, familiarized your-

self with its controls, and assigned it an IP. If not, we

strongly recommend you do so, as this chapter is not

designed to be a comprehensive primer.)

Note: Your Element ships with a combination GPIO Node/Power Supply that also contains the Element CPU. These units are convection cooled, and we strongly recommend that, when rackmounting these units, you leave at least 1RU of space above and below the GPIO Node/Power Supply to ensure adequate ventilation.

Each Axia GPIO has eight DB-15 connectors on its

back panel. Each connector can be associated with a de-

vice in your studio, and provides ﬁve opto-isolated in-

puts and 5 opto-isolated outputs per device for machine

control, lamp drives and remote channel controls.

GPIO ports are programmed to support several dif-

ferent types of devices. How does a GPIO port “know”

which type of device is assigned to it? Well, there’s a

little bit of magic involved.

Back in Chapter Two, when you constructed a Source

Proﬁle for a telephone hybrid, you deﬁned the source

type (see “Adding Backfeeds and GPIO to a Source Pro-

ﬁle,” p. 12). This is important, because when that source

is assigned to a console fader, Element uses this Source

Proﬁle selection to tell the GPIO Node what sort of com-

mand to send to the attached device..

If Element “sees” in the Source Proﬁle that the as-

signed device is a microphone, it tells the GPIO Node to

send logic for On, Off, Remote Mute and Remote Talk

commands on the appropriate pins. If it “sees” a line

input, it tells the GPIO Node to send Start, Stop and

Reset commands, plus closures for Ready lights, etc.

Axia GPIO ports can deliver command sets for the

following devices:

Microphone (Operator, Guest or Producer)

Line Input

Codec

Telephone Hybrid

Computer Playback Device

Control Room Monitor

Studio Monitor

Profanity Delay Device

Accessory Button Panel Device

The next few pages contain tables that explain what

function the pins provide in each different device mode.

3: Conguring GPIO • 21

Page 32

GPIO Operator’s Microphone Logic





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Name Pin Type Notes

INPUTS

ON Command 11 Active L ow Input Turns channel ON

OFF Command 12 Active L ow Input Turn channel OFF

TALK (to Monitor 2) Command 13 Active Low Input Activates the Element TALK

MUTE Command 14 Active L ow Input Mutes channel outputs

TALK (to PREVIEWED

15 Active L ow Input Activates the TALK button

SOURCE) Command

OUTPUTS

ON Lamp 1 Open Collector to Logic Com-

mon Return

OFF Lamp 2 Open Collector to Logic Com-

mon Return

TALK (to Monitor 2) Lamp 3 Open Collector to Logic Com-

mon Return

MUTE L amp 4 Open Collector to Logic Com-

mon Return

TALK (to PREVIEWED SOURCE) L amp

5 Open Collec tor to Logic Com-

mon Return

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

Logic Common 8 Internal 5 Volt return Can be connected to Pin 7

Logic +5 Volt Supply 9 Logic Supply, Individually

Fused

Input Common 10 Common for all 5 input s Connect to power supply of

NOT CONNECTED 6

TO MON2 function and r outes mic audio to the Talkback bus.

on every source currently in preview and routes mic audio to the Talkback bus.

Illuminate s when channel is ON unless TALK or MUTE is active

Illuminate s when channel is OFF

Illuminate s when TALK TO MON2 is active

Illuminate s when MUTE is active

Illuminate s when TALK to PREVIEWED SOURCE is active.

device or to Pin 8

if source is not providing

common

Can be connected to Pin 10 if source is not providing voltage; active only when source has been assigned to channel.

source device or to Pin 9

3: Conguring GPIO • 22

GPIO v.”Z” 12/2007

Page 33

GPIO Control Room Guest Microphone Logic





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Name Pin Type Notes

INPUTS

ON Command 11 Active L ow Input Turns channel ON

OFF Command 12 Active L ow Input Turn channel OFF

TALK (to CR) Command 13 Active L ow Input Mutes channel outputs and

MUTE Command 14 Active L ow Input Mutes channel outputs

TALK (to SOURCE) Command 15 Active Low Input Allows an external button

OUTPUTS

ON Lamp 1 Open Collector to Logic Com-

mon Return

OFF Lamp 2 Open Collector to Logic Com-

mon Return

TALK (to CR) Lamp 3 Open Collec tor to Logic Com-

mon Return

MUTE L amp 4 Open Collector to Logic Com-

mon Return

TALK (to SOURCE) Lamp 5 Open Collec tor to Logic Com-

mon Return

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

Logic Common 8 Internal 5 Volt return Can be connected to Pin 7

Logic + 5 Volt supply 9 Logic Supply, Individually

Fused

Source Supply 10 Common for all 5 input s Connect to power supply of

NOT CONNECTED 6

routes source audio to PVW speaker s

to activate channel TALK TO SOURCE function. (Element only; SmartSurface not used)

Illuminate s when channel is ON unless TALK or MUTE is active

Illuminate s when channel is OFF

Illuminate s when TALK is active

Illuminate s when MUTE is active

Illuminate s when the channel TALK TO SOURCE function

is active. (Element only; Smart Surface not used)

device or to Pin 8

if source is not providing common

Can be connected to Pin 10 if source is not providing voltage; active only when source

has been assigned to channel.

source device or to Pin 9

GPIO v.”Z” 12/2007

3: Conguring GPIO • 23

Page 34

GPIO Studio (Monitor 2) Guest Microphone Logic





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Name Pin Type Notes

INPUTS

ON Command 11 Active L ow Input Turns channel ON

OFF Command 12 Active L ow Input Turn channel OFF

TALK (to CR) Command 13 Active L ow Input Mutes channel outputs and

MUTE Command 14 Active L ow Input Mutes channel outputs

TALK (to SOURCE) Command 15 Active Low Input Allows an external button

OUTPUTS

ON Lamp 1 Open Collector to Logic Com-

mon Return

OFF Lamp 2 Open Collector to Logic Com-

mon Return

TALK (to CR) Lamp 3 Open Collec tor to Logic Com-

mon Return

MUTE L amp 4 Open Collector to Logic Com-

mon Return

TALK (to SOURCE) Lamp 5 Open Collec tor to Logic Com-

mon Return

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

Logic Common 8 Internal 5 Volt return Can be connected to Pin 7

Logic + 5 Volt supply 9 Logic Supply, Individually

Fused

Source Supply 10 Common for all 5 input s Connect to power supply of

NOT CONNECTED 6

routes source audio to PVW

speaker s

to activate channel TALK TO

SOURCE function. (Element only; SmartSurface not used)

Illuminate s when channel is

ON unless TALK or MUTE is active

Illuminate s when channel is

OFF

Illuminate s when TALK is active

Illuminate s when MUTE is active

Illuminate s when the channel TALK TO SOURCE function

is active. (Element only;

Smart Surface not used)

device or to Pin 8

if source is not providing common

Can be connected to Pin 10 if

source is not providing voltage; active only when source

has been assigned to channel.

source device or to Pin 9

3: Conguring GPIO • 24

GPIO v.”Z” 12/2007

Page 35

GPIO Producer’s Microphone Logic





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Name Pin Type Notes

INPUTS

ON Command 11 Active L ow Input Turns channel ON

OFF Command 12 Active L ow Input Turn channel OFF

TALK (to MONITOR 2) Command

MUTE Command 14 Active L ow Input Mutes channel outputs

TALK (to PREVIEWED SOURCE) Command

OUTPUTS

ON Lamp 1 Open Collector to Logic Com-

OFF Lamp 2 Open Collector to Logic Com-

TALK (to MONITOR 2) Lamp 3 Open Collec tor to Logic Com-

MUTE L amp 4 Open Collector to Logic Com-

TALK (to PREVIEWED SOURCE) L amp

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

Logic Common 8 Internal 5 Volt return Can be connected to Pin 7

Logic + 5 Volt supply 9 Logic Supply, Individually

Source Supply 10 Common for all 5 input s Connect to power supply of

NOT CONNECTED 6

13 Active L ow Input Activates the Element TALK

to MON2 function and r outes mic audio to the Talkback bus.

15 Active L ow Input Activates the TALK button

on every source currently in

Preview and routes mic audio to the Talkback bus.

Illuminate s when channel is

mon Return

ON unless TALK or MUTE is

active

Illuminate s when channel is

mon Return

OFF

Illuminate s when TALK to

mon Return

MON2 is active.

Illuminate s when MUTE is

mon Return

5 Open Collec tor to Logic Com-

mon Return

active

Illuminate s when TALK to

PREVIEWED SOURCE is active.

device or to Pin 8

if source is not providing

common

Can be connected to Pin 10 if

Fused

source is not providing volt-

age; active only when source

has been assigned to channel.

source device or to Pin 9

GPIO v.”Z” 12/2007

3: Conguring GPIO • 25

Page 36

GPIO Line Input Logic





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Name Pin Type Notes

INPUTS

ON Command 11 Active Low Input Turns channel ON

OFF Command 12 Active L ow Input Turns channel OFF & sends

PREVIEW Command 13 Active Low Input Turns preview ON

RESET Command 14 Active Low Input Turns c hannel OFF, while not

READY Command 15 Active Low Input Illuminates OFF lamp to indi-

OUTPUTS

ON Lamp 1 Open Collector to Logic Com-

mon Return

OFF Lamp 2 Open Collector to Logic Com-

mon Return

PREVIEW Lamp 3 Open Collector to Logic Com-

mon Return

START Pulse 4 Open Collector to Logic Com-

mon Return

STOP Pulse 5 Open Collector to Logic Com-

mon Return

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

Logic Common 8 Internal 5 Volt return Can be connected to Pin 7 if

Logic + 5 Volt supply 9 Logic Supply, Individually

Fused

Source Supply 10 Common for all 5 inputs Connect to power supply of

NOT CONNECTED 6

100 msec STOP pulse

sending a STOP pulse

cate source’s readiness

Illuminate s when channel is ON

Illuminate s when channel is OFF and READY is active

Illuminate s when PRE VIEW is ON

A 100 msec pulse when the channel status changes from OFF to ON

A 100 msec pulse when the channel status changes from ON to OFF

device or to Pin 8

source is not providing common

Can be connected to Pin 10 if source is not providing voltage; active only when source has been assigned to channel.

source device or to Pin 9

3: Conguring GPIO • 26

GPIO v.”Z” 12/2007

Page 37

GPIO Codec Logic





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Name Pin Type Notes

INPUTS

ON Command 11 Active Low Input Turns c hannel ON

OFF Command 12 Active L ow Input Turns channel OFF

TALK (to CR) Command 13 Ac tive Low Input Mutes channel outputs and

MUTE Command 14 Active Low Input Mutes channel outputs

TALK (to SOURCE) Command 15 Active Low Input Allows an external button

OUTPUTS

ON Lamp 1 Open Collector to Logic Com-

mon Return

OFF Lamp 2 Open Collector to Logic Com-

mon Return

TALK (to CR) Lamp 3 Open Collector to Logic Com-

mon Return

MUTE L amp 4 Open Collec tor to Logic Com-

mon Return

TALK (to SOURCE) Lamp 5 Open Collec tor to Logic Com-

mon Return

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

Logic Common 8 Internal 5 Volt return Can be connected to Pin 7 if

Logic + 5 Volt supply 9 Logic Supply, Individually

Fused

Source Supply 10 Common for all 5 inputs Connect to power supply of

NOT CONNECTED 6

routes source audio to PVW speaker s

to activate channel TALK TO SOURCE function.

Illuminate s when channel is ON unless TALK or MUTE are active

Illuminate s when channel is OFF.

Illuminate s when TALK is active

Illuminate s when MUTE is active

Illuminate s when the channel TALK TO SOURCE function is active.

device or to Pin 8

source is not providing common

Can be connected to Pin 10 if source is not providing voltage; active only when source has been assigned to channel.

source device or to Pin 9

GPIO v.”Z” 12/2007

3: Conguring GPIO • 27

Page 38

GPIO Telephone Hybrid Logic





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Name Pin Type Notes

INPUTS

ON Command 11 Active Low Input Turns c hannel ON

OFF Command 12 Active L ow Input Turns channel OFF

PREVIEW Command 13 Active Low Input Turns preview ON

RESET Command 14 Active Low Input Turns c hannel of f while not

READY Command 15 Active Low Input Illuminates OFF lamp to indi-

OUTPUTS

ON Lamp 1 Open Collector to Logic Com-

mon Return

OFF Lamp 2 Open Collector to Logic Com-

mon Return

PREVIEW Lamp 3 Open Collector to Logic Com-

mon Return

START Pulse 4 Open Collector to Logic Com-

mon Return

STOP Pulse 5 Open Collector to Logic Com-

mon Return

POWER & COMMAND

Source Common 7 Logic Common Connect to ground of source

Logic Common 8 Internal 5 Volt return Can be connected to Pin 7 if

Logic + 5 Volt supply 9 Logic Supply, Individually

Fused

Source Supply 10 Common for all 5 inputs Connect to power supply of

NOT CONNECTED 6

sending a STOP pulse

cate source’s readiness

Illuminate s when channel is ON

Illuminate s when channel is OFF

Illuminate s when PRE VIEW is ON

A 100 mS PULSE is sent when

channel is rst turned ON or when PV W is rst selected

(if “PVW answers” option is selec ted).

A 100 mS PULSE sent when channel is turned OFF.

device or to Pin 8

source is not providing common

Can be connected to Pin 10 if source is not providing voltage; active only when source has been assigned to channel.

source device or to Pin 9

3: Conguring GPIO • 28

GPIO v.”Z” 12/2007

Page 39

GPIO Control Room Monitor Logic





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Name Pin Type Notes

INPUTS

MUTE CR Command 11 Active Low Input Mutes CR monitors and Pre-

DIM CR Command 12 Active Low Input Allows external dimming of

Enable EXT PRE VIEW Com-

13 Active Low Input Feeds External Audio Input to

mand

Not Used 14 Ac tive Low Input

TALK TO EX T Command

15 Active Low Input Turns on Talk to External

(Element only).

OUTPUTS

CR ON AIR L amp 1 Open Collector to L ogic Com-

mon Return

DIM CR Lamp 2 Open Collector to Logic Com-

mon Return

PREVIEW Lamp 3 Open Collector to Logic Com-

mon Return

Not Used 4 Open C ollector to Logic Com-

mon Return

TALK (to CR) Active Lamp 5 Open Collector to Logic Com-

mon Return

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

Logic Common 8 Internal 5 Volt return Can be connected to Pin 7 if

Logic + 5 Volt supply 9 Logic Supply, Individually

Fused

Source Supply 10 Common for all 5 inputs Connect to power supply of

NOT CONNECTED 6

view speakers

CR monitor speakers.

PREVIEW

Audio on Element.

Illuminate s whenever CR monitors are muted

Illuminate s whenever control room monitors are DIMMED

Illuminate s when PRE VIEW is active.

Active whenever a source has activated its TALK (to CR) function

device or to Pin 8

source is not providing common

Can be connected to Pin 10 if source is not providing voltage; active only when source has been assigned to channel.

source device or to Pin 9

GPIO v.”Z” 12/2007

3: Conguring GPIO • 29

Page 40

GPIO Studio Monitor Logic

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Name Pin Type Notes

INPUTS

MUTE Studio Command 11 Active Low Input Allows external muting of

DIM Studio/Monitor 2

12 Active Low Input Allows external dimming of

Command

Remote Event Timer Trigger

13 Active Low Input Resets Countup Event Timer

Command

Remote Countdown Timer

14 Active Low Input Resets Countdown timer to

Trigger Command

Not Used 15 Ac tive Low Input

OUTPUTS

Studio ON A IR Lamp 1 Open Collector to Logic Com-

mon Return

DIM Studio/Monitor 2 Lamp 2 Open Collector to Logic Com-

mon Return

Event Timer Trigger Output 3 Open Collector to Logic Com-

mon Return

Countdown Timer Trigger Output

TALK TO STUDIO/MONITOR 2 Active L amp

4 Open Collector to Logic Com-

mon Return

5 Open Collector to Logic Com-

mon Return

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

Logic Common 8 Internal 5 Volt return Can be connected to Pin 7 if

Logic + 5 Volt supply 9 Logic Supply, Individually

Fused

Source Supply 10 Common for all 5 inputs Connect to power supply of

NOT CONNECTED 6

Studio monitor speakers.

to zero and starts timer.

preset max time and starts timer (Element only).

Illuminate s whenever Studio monitors are muted

Illuminate s whenever Studio monitors are DIMMED

A 100 ms PULSE sent when event timer is started from zero.

A 100 mS PULSE sent when countdown timer is started from preset max (Element only).

Illuminate s whenever the TALK TO STUDIO/MON2 function is ac tive.

device or to Pin 8

source is not providing common

Can be connected to Pin 10 if source is not providing voltage; active only when source has been assigned to channel.

source device or to Pin 9

3: Conguring GPIO • 30

GPIO v.”Z” 12/2007

Page 41

GPIO Computer Playback Device Logic

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Name Pin Type Notes

INPUTS

ON Command 11 Active Low Input Turns c hannel ON

OFF Command 12 Active L ow Input Turns channel OFF & sends

PREVIEW Command 13 Active Low Input Turns preview ON

Not Used 14 Ac tive Low Input

READY Command 15 Active Low Input Illuminates OFF lamp to indi-

OUTPUTS

NEXT Pulse 1 Open Collector to Logic Com-

mon Return

OFF Lamp 2 Open Collector to Logic Com-

mon Return

PREVIEW Lamp 3 Open Collector to Logic Com-

mon Return

START Pulse 4 Open Collector to Logic Com-

mon Return

STOP Pulse 5 Open Collector to Logic Com-

mon Return

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

Logic Common 8 Internal 5 Volt return Can be connected to Pin 7 if

Logic + 5 Volt supply 9 Logic Supply, Individually

Fused

Source Supply 10 Common for all 5 inputs Connect to power supply of

NOT CONNECTED 6

100 msec STOP pulse

cate source’s readiness

A 100 mS PULSE sent when ON button is depressed, except when initially turned ON.

Illuminate s when channel is OFF and READY is active

Illuminate s when PRE VIEW is ON

A 100 mS PULSE sent when

channel is rst turned ON.

A 100 mS PULSE sent when channel is turned OFF.

device or to Pin 8

source is not providing common

Can be connected to Pin 10 if source is not providing voltage; active only when source has been assigned to channel.

source device or to Pin 9

GPIO v.”Z” 12/2007

3: Conguring GPIO • 31

Page 42

GPIO External Profanity Delay Logic

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Name Pin Type Notes

INPUTS

DUMP Lamp 11 Ac tive Low Input Illuminates DUMP lamp

EXIT Lamp 12 Active Low Input Illuminates EXIT lamp.

PAUSE Lamp 13 Active Low Input Illuminates PAUSE lamp.

ENGAGE Lamp 14 Active Low Input Illuminates ENGAGE lamp.

DELAY ANNUNCIATOR

15 Active Low Input Illuminates the DELAY annun-

Command

OUTPUTS

DUMP Switc h 1 Open Collector to Logic Com-

mon Return

EXIT Switch 2 Open Collector to Logic Com-

mon Return

PAUSE Switch 3 Open Collector to Logic Com-

mon Return

ENGAGE Switch 4 Open Collector to Logic Com-

mon Return

Not Used 5 Open C ollector to Logic Com-

mon Return

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

Logic Common 8 Internal 5 Volt return Can be connected to Pin 7 if

Logic + 5 Volt supply 9 Logic Supply, Individually

Fused

Source Supply 10 Common for all 5 inputs Connect to power supply of

NOT CONNECTED 6

(located on Element Monitor Module).

ciator on the Element main screen.

Active when DUMP but ton is depressed.

Active when EXIT button is depressed.

Active when PAUSE button is depressed.

Active when ENGAGE button is depressed.

device or to Pin 8

source is not providing common

Can be connected to Pin 10 if source is not providing voltage; active only when source has been assigned to channel.

source device or to Pin 9

3: Conguring GPIO • 32

GPIO v.”Z” 12/2007

Page 43

GPIO Film Legendable User Button Module / Accessory Panel / Rack Panel

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Name Pin Type Notes

INPUTS

User Button 1 Lamp 11 Active Low Input Illuminates User But ton 1

User Button 2 Lamp 12 Active Low Input Illuminates User But ton 2

User Button 3 Lamp 13 Active Low Input Illuminates User But ton 3

User Button 4 Lamp 14 Active Low Input Illuminates User But ton 4

User Button 5 Lamp 15 Active Low Input Illuminates User But ton 5

OUTPUTS

User Button 1 Switc h 1 Open Collector to Logic Com-

mon Return

User Button 2 Switc h 2 Open Collector to Logic Com-

mon Return

User Button 3 Switc h 3 Open Collector to Logic Com-

mon Return

User Button 4 Switc h 4 Open Collector to Logic Com-

mon Return

User Button5 Switc h 5 Open Collector to Logic Com-

mon Return

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

Logic Common 8 Internal 5 Volt return Can be connected to Pin 7 if

Logic + 5 Volt supply 9 Logic Supply, Individually

Fused

Source Supply 10 Common for all 5 inputs Connect to power supply of

NOT CONNECTED 6

Lamp

Active when User Button 1 is pushed

Active when User Button 2 is pushed

Active when User Button 3 is pushed

Active when User Button 4 is pushed

Active when User Button 5 is pushed

device or to Pin 8

source is not providing common

Can be connected to Pin 10 if source is not providing voltage; active only when source has been assigned to channel.

source device or to Pin 9

GPIO v.”Z” 12/2007

3: Conguring GPIO • 33

Page 44

Assigning GPIO to a Source

As you’ve seen by studying the previous pages, a lot

of the work of assigning logic to a source is done for you;

once a GPIO port is linked with a Source Proﬁle, all that

remains to do is to solder cables connecting the GPIO’s

DB-15 connectors to the device’s control interface.

So, how do you link a GPIO port with a Source Pro-

ﬁle? It’s very easy; let’s do it step-by-step.

Note: This procedure assumes that you have

already dened at least one Source Prole using

the instructions outlined in Chapter Two.

Figure 3-3: GPIO Select Source popup list

Open your Web browser and enter the IP address of

your Element console. Choose GPIO Conguration

from the Element Control Center menu. Enter your

password if prompted (default login is “user”, leave

the password ﬁeld blank).

If you haven’t previously assigned any GPIO ports,

the GPIO deﬁnitions screen will be blank. Notice the

status indicators at the top of the page, showing the

state of the input and output pins of each port. Click

on the list icon to the right of an unused line.

When you click on any list icon, a small popup win-

dow will open, enumerating all of the audio sourc-

es available on the Livewire network (Figure 3-3).

Choose the source you wish to associate with a GPIO

port by clicking on it; the window will close and the

source’s name and channel number will appear in

the Channel box.

Type a descriptive name in the Name ﬁeld, and click

on the Save button at the bottom of the page.

Look at the page-top status indicator for Port 1.

You’ll see that one of the pin status indicators is

lit in green; this means that the port is now send-

ing a GPIO logic state of “true” through this

pin. Assign the source for which you just created

a GPIO link to a Element channel; operate the

On and Off keys for the channel and watch the

pin status indicators change as you do so.

The source we’ve been using for this demonstra-

tion is a telephone hybrid; we can now observe the

pin status indicators change as we turn the channel

on and off, as shown in Figure 3-4.

Figure 3-4: Pin status indicators showing

GPIO por t activity

3: Conguring GPIO • 34

Figure 3-2: GPIO denitions page

Referring to the Hybrid Logic Chart on Page 28, we

can see that when the Element channel is Off, the

indicator representing Output Pin 2 – the Off Lamp

logic command – is high. Turning the channel On,

we see Pin 4 pulse brieﬂy before Pin 1 goes high:

the GPIO has just sent a Start pulse, then lit the

On Lamp. If you turn the channel Off again, you’ll

observe a Stop pulse, and the Off Lamp command

Page 45

once again become active.

See how easy that was? Simply assigning an existing

audio source to a GPIO port automagically conﬁgures

the port for the type of device supplying the audio, and

send the appropriate logic commands to that port when

the source is assigned to a Element channel.

A word about the GPIO Ports

Input Connections

Current on these inputs must be limited to 20 mA or

less, through the use of a current-limiting resistor. An

external power source (24 volts DC maximum) is rec-

ommended for all inputs and outputs, to prevent ground

loops between equipment. However, if customer equip-

ment is completely isolated, using power from the GPIO

Port connectors is acceptable. Figure 3-5 shows details

for both types of connections:

for outputs:

Figure 3-6: GPIO output connections

Note: Some external devices will allow a logic control input “sink to ground” to activate. Thus, some devices may not work with an Axia GPO control, because they may not fully achieve ground through the output transistor. The voltage drop between the collector and emitter may not be low enough to activate the device, so an external relay controlled by the GPO may need to be used to provide a “dry” contact closure to the external device.

Figure 3-5: GPIO input connections

Output Connections

The GPIO node’s outputs are opto-isolated. Current

should be limited 100 mA through each output, with the

total current draw from the +5 Volt supply not to exceed

3 amps. Figure 3-6 shows the recommended connections

Please note that this section is provided only as a

“jump-start” introduction to Axia GPIO nodes. For a full

understanding of the GPIO node’s options and require-

ments, please read the GPIO Node User’s Manual in-

cluded with your GPIO node, or available for download

at www.AxiaAudio.com/downloads/ .

What's Next

When you’re ready, join us in Chapter Four for a

comprehensive walk-through of Element operations. q

3: Conguring GPIO • 35

Page 46

 wr s 

 r roacts cu.

 UPS rs!

3: Conguring GPIO • 36

Page 47

Chapter Four:

Element Operations

Displays

Unlike other control surfaces, Element does not in-

clude built-in meters or other displays. Instead, Element

GPIO/Power Supply Nodes provide a VGA output to

feed your choice of display monitors.

Once it’s installed in your studio, Element looks a lot

like a traditional radio broadcast console — but that’s

where the resemblance ends.

Element isn’t a console; it doesn’t actually mix or

process audio. It would be more accurate to say that

Element is a control center, allowing the operator to take

charge of the delivery system, the StudioEngine mix-

ing/routing engine, the phone system, the recorder/edi-

tor and other sources.

With Element, our goal is to provide you with the

most efﬁcient man-machine interface possible for fast-

paced, complex programs where board operators must

multi-task without error. As such, Element brings a whole

new level of control and sophistication to the broadcast

studio, while providing very intuitive operation.

Overview

Element was designed to perform equally well in

air or production studios. In the air studio, the clean

interface enhances speed and accuracy without clutter

or confusing controls. In the production room, deeper

levels of sophistication are accessible with the touch of

a button.

Because different people work differently, we’ve

made it possible to access many functions in multiple

ways. By providing several paths to access a function,

the board operator has less to remember and is less like-

ly to get trapped. This also serves to bring new operators

up to speed easily.

In this chapter we’ll ﬁrst give you a high-level over-

view of Element capabilities to help convey exactly what

Element is capable of. Then, we’ll give you detailed ex-

planations of the various controls and functions.

Element’s display normally shows meter levels for

all PGM buses, a time of day clock, countdown and time-

remaining timers, and well as important status messages.

When the operator adjusts console options using the Di-

rect Access Keys on the Master Module, the screen helps

navigate the options and, in the case of audio dynamics

and EQ adjustment, shows graphic representations of

the effects of changes.

Show Proles

Element can be completely reconﬁgured, instantly,

to suit different types of shows. By using pre-deﬁned

Show Proﬁles, talent can change board settings from a

phone and microphone intensive morning show to a per-

sonality-based music show – or any other kind – at the

touch of a button.

Show Proﬁles are easily accessed by pressing the

Prole key located at the top of the Global Options

section of the Master Module. Element’s on-screen

display will change to display a list giving instant ac-

cess to all stored Proﬁles. Construction and administra-

tion of Show Proﬁles is covered in Chapter Five. “Show

Proﬁles.”

Sources, Channels and Faders

During the course of this manual, we’ll refer often to

sources and channels. These are not the same! “Sourc-

es” are microphones, CD players, outputs from the

playout system, telephone hybrids, etc. Your Livewire

network may have a very large number of sources, in

different locations, used at various times.

“Channel” would normally be used when referring to

Element’s linear pots and associated on/off controls, al-

pha displays, bus assignment keys, etc. But “Channel” is

also used when discussing numbered Livewire network

streams. To avoid confusion, we’ll call Element channel

strips “Faders”.

4: Element Operations • 37

Page 48

Sources are assigned to faders for use on-air or in

production. During initial conﬁguration, the sources are

programmed by the engineer for appropriate logic and

options (as outlined in previous chapters); afterwards,

whenever that source is assigned to a fader, source logic

follows.

Fader settings are instantly reconﬁgured whenever a

source is selected, to accommodate the unique require-

ments of the source. For example, a fader controlling a

microphone source also controls appropriate monitor

mutes. A fader controlling a line source sends “start”

and “stop” commands when the channel is turned on

and off.

Sources can also be fed directly to the monitors for

auditioning without being assigned to a fader.

Mix-Minus

Mix-minus setup, especially for live broadcasts, has

always been one of the most confusing aspects of run-

ning a radio board.

Element makes mix-minus easy by automating it.

The operator never has to worry about sending a source

back to itself — it just can’t happen!

Several mix-minus choices – ﬁxed and switching

– are possible, and are conﬁgured for each source when

Source Proﬁles are deﬁned by the engineer (see Chap-

ter Two for details). Once this setup is done, no further

tweaking is needed; the operator simply uses the source.

A Status Symbol display on each fader tells operators

when a particular source has a mix minus output, and

even tells them which audio mix is being backfed.

Element will support as many outputs as there are

installed faders, each with its own automated mix minus

feed. Got 24 faders? You can have 24 mix-minuses!

GPIO

As explained in Chapter Three, each input source can

have associated GPIO (General Purpose Input/Output)

control associated with it. Element GPIO interfaces are

4: Element Operations • 38

connected to Element via the Livewire network, so you

can locate the actual machine connections either physi-

cally close to source equipment or in a central equip-

ment room.

During installation, the engineer conﬁgures sourc-

es to accept and provide logic commands by selecting

various options. Example: studio microphones may be

set up to automatically mute the studio monitor speak-

ers and illuminate an on-air warning light when turned

on. The same sources can be conﬁgured to accept GPIO

logic inputs from buttons so each studio guest can have

their own On, Off, Talk, and Mute keys (see Chapter

One, “Setup and Conﬁguration” for details ).

Line sources can be conﬁgured to receive start and

stop commands from the Element as well. Start/stop

messages can also be passed, via Ethernet, to a com-

puter-based playout system.

Monitor Module and SoftKnobs

The Monitor Module and SoftKnobs contain Ele-

ment’s operating controls. This is where you’ll ﬁnd vol-

ume and selection controls for monitors and heaphones,

as well as keys that provide fast access to show proﬁles,

EQ & dynamics, Aux feeds and more. There are two dif-

ferent type of Monitor Modules: one that contains only

monitor and option controls, and one that subtracts some

monitor controls but adds two faders. We’ll outline how

each type works.

Software

The Element operating system uses a high-perfor-

mance embedded Linux kernel to help ensure bullet-

proof, 24/7 operation. Software updates can be obtained

from Axia via the Internet and applied by the station en-

gineer. Axia Support recommends performing backups

or making printouts of Show Proﬁles and other conﬁgu-

ration data before applying new software updates.

Control Callout

On the following pages are a “bird’s-eye view” of

Element, with major controls located and their functions

explained.

Page 49

Element with Standard Monitor Module

1 2 3 4 5 6

7 8 9 1110

Faders can accommodate any input source. Each

channel’s Options button (at the top of the fader

strip) lets operators change sources and call up ex-

panded channel features.

Assignment Buttons for the four stereo main

output buses – Program-1, Program-2, Program-

3 and Program-4/Record – are located atop each

fader strip.

Channel Displays contain a 10-character text

readout and a window for fader position numbers

and Status Symbol icons. Text is ﬁxed for static

sources like microphones and CD players, but can

be set to show song/artist information, etc., when

computer-based audio sources are connected.

Monitor Module Options & Profanity Delay

Controls. Channel Options section contains Di-

rect Access Keys for quick access to a channel’s

Source assignment, EQ, Dynamics, Pan, Mix-Mi-

nus and Aux Sends settings. These keys become

active whenever a channels Options key is pressed.

Below the Channel Options keys, a set of keys are

provided for convenient on-console control of ex-

ternal profanity-delay units.

Six SoftKnobs are context sensitive; when any

Direct Access key is pressed, the on-screen dis-

play shows the function affected by rotating and/

or pushing each knob.

Monitor Module Global Options & Timer Con-

trol Keys let operators recall Show Proﬁles, select

monitor and metering preferences and affect other

Element behaviors. Timer controls help keep track

of on-screen elapsed and remaining time displays.

Talkback & Preview Keys let operators preview

(cue) selected sources off-air, or quickly talk to

any source(s) with associated backfeed(s).

Monitor 2 Talkback & Volume Controls let op-

erators easily talk to hosts and guests in a second

studio, and control their monitor volume.

Monitor Assignment Section contains volume

and selection controls for monitors, headphones,

Aux Send buses and Preview.

Control Knob/Nav Keys help navigate through

10.

on-screen options.

Numeric Keypad lets operators dial phone sys-

11.

tems or codecs directly. Also provides numeric

input during surface setup.

4: Element Operations • 39

Page 50

Element with 2-Fader Phone Module and 2-Fader + Monitor Module

1 2 3 4 5 6

4: Element Operations • 40

7 8 9 1110

Faders can accommodate any input source. Each

channel’s Options button (at the top of the fader

strip) lets operators change sources and call up ex-

panded channel features.

Assignment Buttons for the four stereo main

output buses – Program-1, Program-2, Program-

3 and Program-4/Record – are located atop each

fader strip.

Channel Displays contain a 10-character text

readout and a window for fader position numbers

and Status Symbol icons. Text is ﬁxed for static

sources like microphones and CD players, but can

be set to show song/artist information, etc., when

computer-based audio sources are connected.

Numeric Keypad lets operators dial phone sys-

tems or codecs directly. Also provides numeric

input during surface setup.

Three SoftKnobs are context sensitive; when any

Direct Access key is pressed, the on-screen dis-

play shows the function affected by rotating and/

Record Mode to quickly capture off-air bits to an

external recording device.

Talkback & Preview Keys let operators preview

(cue) selected sources off-air, or quickly talk to

any source(s) with associated backfeed(s).

2-Fader Phone Module provides direct control

of all hybrid and line control functions for Telos

Nx12, TWOx12 or Series 2101 Broadcast Talk-

show Systems.

Timer Controls help keep track of on-screen

elapsed and remaining time displays.

Monitor 1 Section contains volume and selec-

10.

tion controls for monitors, headphones, Aux Send

buses and Preview.

Monitor 2 Talkback & Volume Controls let op-

11.

erators easily talk to hosts and guests in a second

studio, and control their monitor volume.

Headphone and Preview Volume Controls let

12.

operators adjust Host headphone volume and con-

trol Preview (cue) volume and options.

or pushing each knob.

Record Mode and Load Prole Keys let opera-

tors recall customized Show Proﬁles and activate

Page 51

Element Stereo Main Screen Overview

1 2 3 4 5 6

7 8 9 1110

Program Meters for each of Element’s four ste-

reo Program buses feature true VU meter ballistics

with an expanded scale. Solid bargraphcs indicate

average level; the red line at -20dBFS corresponds

to the 0dB mark on a traditional analog meter.

Peak Indicator indicates absolute peaks to show

talent where the loudest portions of program ma-

terial are landing on the VU scale. (This indicator

may be switched off if desired.)

Peak Indicator Warning illuminates when

peaks reach or exceen 0dBFS.

Day/Date and Digital Clock keep operators in-

formed of what day it is (in case they forget, which

is entirely normal). Clock can be set for 12- or 24-

hour operation, and can be slaved to a networked

NTP server if desired.

Analog Clock presents a traditional clockface

with second hand for fast orientation.

Utility Meter normally shows the volume of

sources assigned to the PGM-4/Phone/Record

multifunction bus, but can optionally be slaved to

meter whatever source is auditioned in the Control

Room Monitors.

Annunciator Panel informs operators when Mic

channels are open, when audio is being auditioned

in the Preview (cue) channel, when Talkback is ac-

tive in either direction, and when external profan-

ity delay units (if any) are active.

Countdown Ring appears when Element’s

Countdown Timer is active, and decreases during

the last :60 seconds as a visual prompt.

Count Up and Countdown Timers provide an

automatic event timer with manual elapsed-time

function, and a countdown timer to assist in back-

timing live program material.

Monitor Selection Indicators show talent what

10.

source is being presented in the Control Room

and Studio Monitor channels, the CR Headphone

channel and the Preview channel, and shows the

position of each volume control when adjusted.

External Monitor Indicators show what sourc-

11.

es are assigned to each of the two programmable

External Monitor channels.

Show Prole Indicator tells talent what Show

12.

Proﬁle is currently loaded, and whether the con-

sole has been changed from Proﬁle settings.

4: Element Operations • 41

Page 52

Control Details

EXTERNAL

STUDIO

PREVIEWED

SOURCE

TALK TO

and post on-off function.

4: Element Operations • 42

General Fader Controls

Although any Element faders can handle any

type of audio source, some fader functions change

their behavior depending upon the type of source

assigned. Also, certain fader modules have “ex-

tra” controls for speciﬁc uses. The controls found

on the Element 4-Fader Line Module (Figure 4-1)

are common to all Element modules, so we’ll look

at these ﬁrst.

Fader Assignment Display

•

The 10 character alpha display shows the

source presently assigned to this channel. If the

fader’s Options button is pressed and the opera-

tor changes sources, this display changes too.

If a channel is ON and the operator changes

its source, the display will ﬂash between the

source currently on-air and the newly selected

source. The fader will not “take” the new source

until the operator has turned the channel off, pre-

venting on-air errors. If a Show Proﬁle is loaded

that speciﬁes an unavailable source, the display

reads Requested source not found.

Just above the alpha display is a Status Symbol

display. This display indicates the fader’s channel

number or presents a Status Symbol to indicate

when backfeed or talkback is active.

Channel Options Key

•

Pressing this key activates the Channel Op-

tions keys located on Element’s Master Module.

Refer to the sections on Monitor Module controls

later in this chapter for detailed functions.

PGM-1, -2 & -3 Keys

•

Each channel is assigned to any of the three

main output buses by selecting any (or all) of these pro-

gram keys. Generally, PGM-1 is the main air bus and

other buses are used for production or other program-

ming requirements. All program outputs are post-fader

Figure 4-1:

Line Module

Fader Channel

PGM-4 / Record Bus / Phone Bus Key

•

The fourth bus functions as a regular output bus, but

any sources feeding PGM-4 are also sent to a spe-

cial Record bus that feeds a dedicated recording

device, as well as to the Phone bus that sends

mix-minus audio to any phone callers. These

buses operate independently but simultaneously,

allowing jocks plenty of operational ﬂexibility.

PGM-4 bus audio output is post-fader, post-

on/off; Record bus audio output is post-fader,

pre-on/off, and Phone bus audio is sent to callers

pre-fader, pre-on/off.

Talkback Key

•

Each fader is equipped with a Talkback key,

located between the bottom of the fader and the

channel ON/OFF keys. If the source assigned to

a fader is has an associated backfeed, pressing

this key will allow the board operator to com-

municate with the person at the other end of the

backfeed; the fader’s Status Symbol display will

change to show that Talkback is active.

Multiple Talkback keys can be selected to

talk to more than one source at a time.

Auto-Talkback: If a source’s Backfeed mode is set to “Auto”, the caller or remote talent will hear PGM-1 minus himself (mixminus) whenever the fader he’s assigned to is ON, and will have his Talkback channel automatically activated when the channel is turned OFF. See Chapter Two:

“Conguring Inputs” for more information

on conguring backfeeds.

Channel Preview Key

•

Preview (called “cue” in the analog days) al-

lows the operator to listen to sources before they

air. Element’s Preview bus allows auditioning of

content in full stereo.

The Preview key acts like a latching switch.

Momentarily pressing any channel’s Preview key as-

Page 53

signs that channel to the Preview bus; pressing it again

removes the channel from Preview. To enable an op-

erator to quickly listen to various sources, the Preview

function is interlocked: pressing Preview on any chan-

nel will remove any other channel from Preview

mode.

If you want to preview multiple channels,

pressing and holding any Preview key disables

the interlock; other sources can be added to the

Preview mix by pressing them. Conversely, chan-

nels can be removed from a multiple Preview se-

lection by pressing and holding any lit Preview

key and deselecting the individual channels you

wish to remove from Preview. A momentary press

of any lit Preview key will remove all channels

from Preview.

The interlock option for Preview can be dis-

abled in any Show Proﬁle’s Monitor section so

that users can gang preview sources without the

need to press and hold the preview button.

The audio from the Preview bus feeds any

speakers dedicated to Preview, and can also be

routed to the operator’s headphones if desired.

Preview speakers will be muted whenever the

board operator’s microphone is ON, or is assigned

to the Preview or Record buses.

fader up turns the channel on and sends logic com-

mands. In fader-start mode, the On and Off keys

act more as indicators of channel status; the On key

will not turn the channel on if the fader is at the bot-

tom of its travel.

In fader-normal mode, on/off status and

start/stop commands follow the channel ON/

OFF buttons independent of fader position.

For information on how to switch between

fader-start and fader-normal modes, see the

Monitor Module Controls section later in this

chapter.

On and Off Keys

•

When the channel is in fader-normal mode

the On key ( u ) turns the channel on and the Off

key ( n ) turns it off. The channel On and Off

functions also provide logic (start and stop pulses,

monitor muting, etc.) appropriate to the selected

source.

If a control-room mic is assigned to a fader,

the CR monitors and Preview speakers will mute

when that fader is turned on. and when sources

are Previewed. If a fader is hosting a microphone

source, pressing the On button when the fader is

already on mutes the channel, providing a “cough”

function, until the button is released.

New Feature: If an operator presses Talk on a fader to which a Phone source is assigned and, while holding it, presses the Preview button, both will latch on, makeing it easy to have a hands-free off-line chat using the CR Mic. Pushing either one clears both.

Fader

•

The fader controls the volume of the input

source. There are two modes for the fader: fader-

start and fader-normal:

When the channel is used in fader-start mode,

pushing the fader all the way to the bottom of its

travel turns the module off, and sends appropriate

logic commands to source equipment. Moving the

New Feature: In fader-start mode, holding the Off button while moving the fader up disables the usual GPIO start command. The On button may be later used to issue the command.

4-Phone Module Channel Controls

Figure 4-2:

Phone Module

Fader Channel

ement fader module. But some fader modules

include special keys that provide extra functions

for certain types of sources. The 4-Phone Fader

Module (Figure 4-2) is one of these modules. If a normal

line source is assigned to a Phone Fader, the fader and

its controls operate exactly like a standard 4-Fader Mod-

ule (described in the previous section). But whan a Telos

You can assign any type of source to any El-

4: Element Operations • 43

Page 54

4: Element Operations • 44

telephone hybrid is assigned to one of these faders, extra

functionality is enabled.

Taking Calls

When controlling a Telos

phone system, the Status

Symbol box above the alpha

display indicates an avail-

able line by displaying a

single dot. A call ringing in

shows a “ringing” icon. It is

answered by pushing either

the On or Preview button. If

Preview is already on, tog-

gling to Off and then On an-

swers the call. When the call

is answered, an “up arrow”

Status Symbol icon displays.

Also, a window on Element‘s

screen will show call status

and incoming caller ID (if

available).

When the phone channel

is off and in Preview, press

Off to drop the call. When

the channel is on, press Off

once to put the caller on

hold; press twice to drop.

Making Calls

To dial out from the con-

sole, press any control key

(Off, On, Hold, Set, or Pre-

view) on a fader that hosts

a Phone source. This assigns

the Keypad on the Monitor

Module to that fader. Dialing

works like a mobile phone:

Figure 4-3:Call Controller + 2-Fader Phone Module

enter all digits, then press

the Enter (8 ) or Pound (#)

key to place the call. The Status Symbol icon above the

fader indicates ﬁrst that a line is active and then that the

call is proceeding. The Element display screen will also

indicate the numbers dialed and call status.

Set Key

•

If you’re using certain Telos broadcast phone systems,

pressing the Set key transfers the phone line assigned

to that fader to a handset. These buttons are mutually

exclusive across all faders;

touching a Set key on any

Phone Fader switches the

handset to the line assigned

to that fader and cancels any

previous line selection. For

details on Telos phone sys-

tems that utilize the Set key,

please refer to Appendix D,

“Working With Phone Hy-

brids”.

Hold Key

•

Pressing Hold sends a

hold command to the con-

nected Telos phone system.

When connected to Europe-

an ISDN lines, a hold signal

is sent to the network. With

USA ISDN lines, no net-

work hold function is avail-

able, so the hybrid enters a

virtual hold state.

Call Controller + 2-

Fader Phone Module

Controls

This module (Figure 4-3)

works with Telos TWOx12,

Series 2101 and Nx12 multi-

line talk show systems. Its

features the hybrid controls

found on Telos talk show

controllers, ﬂanked by two

faders. Typically, the left

fader is linked to the left

hybrid control, and the right

fader to the right hybrid control. For details on hybrid

control operation and description of Status Symbols

used, please refer to your Telos TWOx12, Series 2101 or

Nx12 Operator’s Manual.

Page 55

Production Module Controls

The Element Production Module gives production-

room gurus quick access to often-used EQ and posi-

tioning controls for each loaded source.

Its controls provide direct access to the

options presented in the EQ & DYNAM-

ICS options screens detailed later in this

chapter.

About Element EQ: Our EQ model is three-band quasi-parametric. Controls are provided for center frequency and boost/cut, with a unique SmartQ™ automatic bandwidth system.

SmartQ works by varying the Q of the selected parametric band propor tional to the amount of boost or cut you specify. A small amount of boost or cut will affect a broader range of frequencies for a warm, musically-pleasing effect. As gain is increased the Q sharpens, affecting a narrower range of frequencies for tighter control of target bands. At aggressive cut levels, the

EQ becomes a tunable notch lter.

SmartQ keeps the EQ sounding natural at virtually all settings.

To activate the Production Module,

press the Options key on any fader strip.

The Production Module’s overbridge dis-

play will immediately mirror the number

of that fader and the name of the source

you’re adjusting EQ for.

Once the Production Module is active,

you can quickly adjust EQ using the con-

trols described below. To quickly set EQ

for multiple channels, rotate the SELECT

knob on the overbridge panel to choose

a different fader source, and press it to

TAKE that source.

AUX SEND A/B/C/D: These controls

•

allow you to send the output of the active fader to any

or all of the four Aux Send buses for ourboard audio

effects processing, custom IFB mixes, etc. Each Aux

Send control has 50 dB of adjustment range, from -∞

to +10dB. Rotating the knobs adjusts the send level;

Figure 4-4:Production Module

+ overbridge display

pushing the knob toggles the send between PRE-

and POST-FADER.

The three central pairs of knobs are EQ Controls:

•

HI GAIN/HI FREQ, MID GAIN/MID

FREQ and LO GAIN/LO FREQ.

The GAIN knobs provide 40 dB of adjust-

ment range for boost or cut of the three

parametric bands, from -25 dB to +15 dB.

The FREQ knobs each act slightly differ-

ently:

HIGH FREQ: Sets the active frequency

for high-band EQ. Pushing this knob

toggles the EQ model between Shelf

and Bandpass modes. If set to Shelf,

the HIGH FREQ knob determines the

top of the shelf. If set to Bandpass,

it sets the center frequency of the BP

ﬁlter (SmartQ determines the width of

the BP ﬁlter, as described above).

MID FREQ: Sets the center frequency

of the midrange parametric band.

LOW FREQ: Sets the center frequency

of the low parametric band. Pushing

this knob toggles the EQ model be-

tween Shelf and Bandpass modes.

If set to Shelf, the LOW FREQ knob

determines the top of the shelf. If set

to Bandpass, it sets the center fre-

quency of the BP ﬁlter

The four knobs at the bottom of the mod-

•

ule are the PAN controls.

The upper left knob PANs the sound

ﬁeld left-to-right.

The FRONT-BACK knob moves the

soundﬁeld front-to-rear (in 5.1 mode).

The SURROUND knob pans the rear

speakers left-to-right (in 5.1 mode).

The LFE knob adjusts the gain of the Low Fre-

quency Effects channel (in 5.1 mode).

4: Element Operations • 45

Page 56

Standard Monitor Module Controls

The standard Monitor Module (Figure 4-5) contains

direct-access controls for all of Element’s options and

features. Constantly-used controls like headphone and

monitor selection and vol-

ume, plus command keys

for the on-screen timers,

controls for an external pro-

fanity delay unit, and a nu-

meric keypad for convenient

dialing of telephone systems

and codecs are included.

Nav Keys & Control Knob

Located at the bottom

right of the module is a

Control Knob surrounded

by a set of navigation keys

(Up, Down, Right and

Left), an Enter key (8

and a Help key (?). These

controls augment the Soft-

Knobs and provide another

way to navigate Element

option screens.

Operators can use the

directional keys to navigate

through on-screen lists, and

the Enter key to “take” a se-

lection. The Control Knob

can also be used to scroll

through on-screen lists.

Channel Jumping: If any fader is in Options mode, you can “quick jump” to set options for other fader channels by pressing the Options key at the top of their channel strips.

For example, if you need to change the Source on several channels, select the rst channel us-

ing its Options key, and then choose the Chan- nel Options Source key. The Source Selection list will appear onscreen. Once the source reassignment is made, simply press the Op- tions key on the next channel you want to assign a new source to; the Source screen will remain active, and you’re now adjusting settings

for the new channel. The channel number is displayed onscreen as

conrmation.

Placing a channel in Op-

tions mode lets you change

inputs, apply EQ, change

pan position, invert phase,

set Aux Send and Aux Re-

turn levels, and adjust mix-

minus settings for that chan-

nel. The Options displays

(Figure 4-6) give detailed

channel information. Both

the Element channel num-

ber (the physical fader posi-

tion, from left to right) and

the source assigned to that

channel are displayed for

conﬁrmation.

Channel Options Section

These keys allow

the operator to custom-

ize the behaviour of indi-

vidual faders. The opera-

tor ﬁrst presses the Options key atop the fader

s/he wishes to modify; the Channel Options box is dis-

played on Element’s screen (Figure 4-6), and the Chan-

nel Options keys then become active.

4: Element Operations • 46

Figure 4-5:Standard Monitor Module + Sof tKnobs

ly selected source alongside a list of available sources

Operators may select using the SoftKnobs or Nav Keys.

They can also preview a source before selecting it.

•

Source Key

Pressing Source dis-

plays the Source Selection

menu. The Source Selection

screen displays the current-

Page 57

Figure 4-6: Channel Options screens. Information displayed dif fers based on the t ype of source currently assigned to the

active fader. Shown clockwise fr om top lef t: Line Source Channel Options screen, Mic Source Channel Options screen,

Phone Source Channel Options screen, Codec Sour ce Channel Options screen.

4: Element Operations • 47

Page 58

A Note About Source Sharing: Element’s source sharing protocol keeps sources from

being controlled by more than one console at a time.

If an operator tries to assign a source that’s already in use on another console and has a

backfeed or logic control enabled, the ID box in the Channel Options screen informs him that

he has “Listen Only” rights to the source (as seen in the righthand box above) - no backfeed will be sent from his console, and no machine

logic is tied to the fader’s ON/OFF keys.

If the source is not in use anywhere else, the operator is informed that they have “Full Con-

trol” of the source (as shown in the lefthand

box above), and backfeed and logic operate normally.

selection, press the

knob. the prior

source will be immediately reloaded to the fader.

Preview

allows you to hear the highlighted

source through the Preview speakers without

haveing to “take” it. Press and hold to listen; re-

lease to end the preview.

Pressing

Source

again returns to the Channel

Options screen.

EQ & Dynamics Key

•

This command allows three-band parametric equal-

ization to be applied to the selected audio source and,

if it is a mic source, to apply dynamics processing by

Omnia. Pressing the

EQ & Dynamics

key causes the

screen to appear; pressing it a second time displays the

Dynamics

screen, and pressing a third time exits.

When the

screen is displayed, a graphical rep-

resentation of the equalization curve is displayed as

the controls are adjusted. The screen also indicates the

amount of cut/boost applied, and the center frequency

of each band.

Lo Gain/Bypass/Active:

Rotating this Soft-

Figure 4-7: Sour ce menu screen.

Source/Take

: rotating this SoftKnob scrolls

through the available sources. Push to take.

: Whenever you “take” a new source,

your last source selection is held in memory.

Should you change your mind about the new

4: Element Operations • 48

source and wish to return to your previous source

Figure 4-8: EQ menu scr een.

Page 59

Knob adjusts the amount of gain or cut applied

to the low EQ band; note that the Shelf/Peak in-

dicator next to the onscreen control automatically

shifts to Peak mode when boost is applied, and

shifts to Shelf mode when cut is applied. Press-

ing this knob toggles EQ between Active and

Bypass.

Rotating the Lo Freq knob adjusts the center fre-

quency of the low EQ band (20 - 320 Hz).

Rotating the Mid Gain and Mid Freq SoftKnobs

adjust gain and center frequencies of the mid-

range EQ band (125 Hz - 2 kHz).

The Hi Gain knob adjusts the boost/cut of the

high frequency band (1.25 kHz - 20 kHz).

Hi Freq/Shelf/Peak: Rotating this SoftKnob

adjusts the center frequency of the high EQ band

(1 kHz - 16 kHz). Pushing this knob toggles the

high-band EQ method between Peak and Shelf

modes.

Pressing EQ & Dynamics again displays the Dy-

namics screen.

Note: High, Mid and Low band adjustments provide up to 25 dB of cut and 15 dB of boost. Element EQ features SmartQ™ automatic bandwidth system that varies the Q of the selected parametric band to provide the most pleasing EQ effect. For details on SmartQ, please refer to Page 44 of this manual.

Dynamics controls are available if the selected

source is a Mic, Codec or Phone input. Pressing the Dy-

namics & EQ key twice invokes the Dynamics menu.

From here, you can add Gating, Compression and De-

essing to a microphone channel. Normally, these values

are part of a pre-set Show Proﬁle; however, on-the-ﬂy

control is provided for talent to make adjustments when

needed.

What is this stuff? Radio engineers don’t need a lesson in dynamics processing, but for the benet of any jocks reading this, here’s a quick explanation of what these controls can do.

Figure 4-9: Dynamics menu screen.

is because when they “close” it sounds as if the audio has suddenly stopped, or has been

“gated.” You might use this on a mic channel to

eliminate background noise during times when you’re not speaking.

Threshold settings determine at what level the processor will begin working. For example, on a compressor, when signal level exceeds the threshold setting, it will be compressed; below the threshold the signal will remain uncompressed. On a gate, threshold determines the minimum input level required to cause the gate to open up and pass signal; when input level drops below the threshold, the gate will be closed preventing signal from passing. Carefully setting the threshold allows you to very specically control when processing is being applied to a signal.

“fatter,” evening out the highs and lows of your

vocal pattern. It can also increase the overall perceived fullness of your voice. Too much compression, however, can make your voice sound

hard and “squashed.” Use it sparingly!

To use compression, you must rst set your

4: Element Operations • 49

Page 60

4: Element Operations • 50

2 decibels the input signal increases, the output is allowed to increase only 1 decibel.

The Freeze Gate is used to prevent “suck-up”

of room noise during speech pauses. When active, gain is not increased by the compressor when audio is absent. “Freeze” would be the default, since it almost always improves results.

you’re talking through a cotton sock! Stick to

small amounts to get the effect you want.

Rotating the Exp Gate Thresh/Bypass/Ac-

tive SoftKnob varies the level of signal thresh-

old needed for the Gate function to activate (be-

tween -50 and 0dB). Pushing this knob toggles

Dynamics between Active and Bypass states.

The Exp Gate Depth knob sets the amount of

gain reduction when audio level falls below the

Exp Gate Threshold value (adjustable between

-3 and 0dB).

Comp Thresh/Bypass/Active sets the upper

limit of the level at which the compressor will

begin to work (between -30 and 0dB). Pushing

the SoftKnob toggles between Active and By-

pass states.

Comp Ratio/Freeze/No Freeze sets the com-

pression ratio (variable between 1:1 and 16:1).

Pushing the SoftKnob activates and deactivates

the compressor’s Freeze Gate function. When

the Freeze function is active, a red “lamp” illu-

minates just above the Compression Ratio bar-

graph meter.

De-Ess Thresh/Bypass/Active sets the audio

level above which the de-esser will be engaged

(from -20 to 0dB). Pushing the SoftKnob toggles

between Active and Bypass states.

De-Ess Ratio sets the amount of sibilance re-

duction, in dB, that will be applied (adjustable

between 1:1 and 8:1).

Pressing the Dynamics & EQ key again will re-

turn you to the Channel Options screen.

Figure 4-10: Pan / Mode menu screen.

Pan & Mode Key

•

This function allows the operator to adjust the pan or

balance of the channel source and correct signal phase

errors.

It’s a Lock: If a “padlock” icon appears in any options screen, that function is “locked out” in

the Source Prole and adjustments cannot be

made. In Figure 4-10, the padlock appears just

below the soundeld representation, above the

Mode indicator. The onscreen Mode SoftKnob is also “grayed out” to show that this function is unavailable.

Operators cannot “unlock” locked functions; if you wish to make locked functions available,

simply modify the source prole to allow them

and when the source is reloaded to the console, the padlock will have disappeared.

Pan/Balance: Rotating this SoftKnob adjusts

the the Pan setting for mono sources and the Bal-

ance setting for stereo sources.

Mode: If the selected source is in stereo and the

Source Proﬁle for the selected source permits

it (see Chapter Two for information on Source

Proﬁles), rotating this control lets the board op

switch source audio between Stereo (discrete

Page 61

left/right), Left (left source channel fed to L/R

input), Right (right source channel fed to L/R

input) and Sum (left and right source channels

summed to mono and fed to L/R input). Push to

Take the new setting.

Phase: If the selected source is stereo, rotat-

ing this control lets the board op compensate for

out-of-phase audio sources. Normal is used for

in-phase sources; Inv Left inverts the phase of

the left input channel only, Inv Right inverts the

phase of the right input channel only, and Invert

Both reverses phase of both stereo channels.

If the selected source is in mono, the choices are

Normal and Invert only. Press to Take the new

setting.

Pressing Pan & Mode again returns to the Chan-

nel Options screen.

Aux Sends Key

Element has four stereo Aux buses that can be used

as utility buses for mixing, for constructing custom IFB

mixes, or as effects buses for production. Pressing this

key displays the Aux Sends screen.

Send A/B/C/D: Rotate these knobs to adjust the

level of the audio you’ll be sending to any or all

of the four Aux Send buses.

Pre/Post Fader: Pushing any of the four Send

SoftKnobs toggles the activity state of that par-

ticular Send. The state is indicated in the display

above.

On Pre sends the source assigned to the fader

to the selected Aux Send bus prior to having

its gain adjusted by the fader (ﬁxed level).

On Post sends the source assigned to the fad-

er to the selected Aux Send bus after having

its gain adjusted by the fader (variable level).

Off sends no audio to the Aux Send bus.

Pressing Aux Sends again returns to the Chan-

nel Options screen.

Feed To Source Key

•

If the assigned source (i.e., a codec or phone hybrid)

has an associated backfeed or mix-minus, pressing this

key allows the board op to change the audio supplied

through the backfeed. This selection is normally pre-set

when a Source Proﬁle is constructed (see Chapter Two,

“Conﬁguring Inputs,” for information on Source Proﬁles),

but can be modiﬁed on-the-ﬂy.

Figure 4-11: Aux Sends menu sc reen.

Figure 4-12: Feed to Source menu screen.

4: Element Operations • 51

Page 62

The Select/Take knob, when rotated, scrolls

through the list of available audio sources that

can supply backfeed or mix-minus.

Automatic backfeeds audio from the Phone

bus when the channel is Off, and audio from

the Program-1 bus when the channel is On,

with mix-minus if needed.

Phone backfeeds audio from the Phone bus,

with mix-minus if needed.

Program 1 - Program 4 backfeeds audio

from the selected Program bus, with mix-mi-

nus if needed.

Aux Send 1 - Aux Send 4 backfeeds audio

from the selected Auxiliary bus, with mix-

minus if needed.

About the PHONE and PROGRAM 4 buses:

Element ’s Program 4 mix bus is a special multipurpose bus that does several things at once to make life easier for the operator.

Any source assigned to Program 4 also be fed to the PHONE bus and sent to callers when the channel is OFF and AUTO is selected as the Feed To Source Mode. PHONE is an internal bus which does not feed a separate output; instead, it picks up the Program 4 audio pre-fader and pre-On/Off and backfeeds them to an PHONE sources.

Sources assigned to Program 4 are also sent to

the RECORD bus, a special xed-level output

that can be used to feed recording devices.

Rotating the Dim knob allows the operator to

adjust, in dB, the amount by which the studio

monitors are dimmed when this fader channel’s

Talkback key is pressed.

Pressing Feed to Source or Options a second

time exits this menu.

Monitor Section

This controls in this section provide direct operator

access to monitor selection and volume controls.

Monitor 1 Knob + Source Keys

•

This knob, at the bottom left of the Monitor section,

controls the selection and volume of the source heard

in the Monitor 1 speakers (typically the Control Room

monitors).

Rotate the knob to vary the gain of the Monitor

1 speakers.

Use the Direct Selection Keys in the column

directly above the Monitor 1 knob to send the

output of Program 1 - Program 4, Aux Send

A - Aux Send D, or the two External monitor

sources to the Monitor 1 speakers. These keys

light to denote the selected source.

You can listen to any frequently-used audio

stream in your facility instantly (such as a net-

work feed, off-the-air monitor or another studio’s

Program output) by assigning it to one of the two

External selector keys - like preset buttons on a

car radio.

Programming the External Monitor Selector keys: If you press and hold either of these

keys for ve seconds, a list of available audio

streams will pop up onscreen. You can then scroll through this list and select the source you want to hear in the monitors when that key is pressed. Each External key is independently programmable.

You can also pre-program the source assigned to these keys when you construct or capture

Show Proles, using the options available on the Monitor page of the Show Prole setup menu.

Delay Section

These keys can be used to provide from-the-board

control of an external profanity delay unit using one of

Element’s GPIO ports (refer to Chapter 3: Conﬁguring

GPIO for instructions on GPIO setup).

The keys provide for remote activation of Dump,

Exit, Pause and Engage functions, respectively.

4: Element Operations • 52

Headphone Knob + Source Keys

•

This knob, at the bottom right of the Monitor section,

controls the selection and volume of the source heard in

the board operator’s headphones.

Rotate to vary the gain of the Headphone feed.

Use the Direct Selection Keys in the column di-

A - Aux Send D, or the two External monitor

rectly above the Headphones knob to send the

output of Program 1 - Program 4, Aux Send

Page 63

sources to the headphones. These keys light to

denote the selected source.

Press and hold either of the External selector

keys to display and select from a list of available

audio streams to monitor on these keys.

Link Key

•

This key toggles the Monitor 1 / Headphone source

Link function. When active, a change to the Monitor 1

source automagically selects that source for the Head-

phone feed, and vice versa. The Link key illuminates

when this function is active.

Monitor 2 Knob

•

This knob, at the top left of the Monitor section, con-

trols the selection and volume of the source heard in the

Monitor 2 speakers (typically Studio or News booth

monitors).

Rotate to vary the Monitor 2 speaker gain.

Push the knob to see an on-screen display of

sources that can be assigned to the Monitor 2

feed. Rotate to highlight the desired source, and

push again to “take”.

Talk To Monitor 2 Key

•

The board operator can push and hold this key to

talk to the talent listening to the Monitor 2 feed. While

the key is depressed, audio from the Control Room mic

channel is fed, pre-fader, to the Monitor 2 speakers

and headphones (if used). Releasing the key ends the

talkback function.

Preview speakers. The Preview To HP key illuminates

when this function is active.

There are three different Preview to HP modes; the

current mode is indicated by an annunciator on the Ele-

ment display screen just below the headphone selection

tally.

Off: When Preview to HP is off, the selector key

is unlit. No preview audio will be heard in the

board-op’s HP path.

On: Pressing the Preview to HP key once from

the Off state sends preview audio, when present,

into both sides of the operator’s headphone feed,

overriding the Monitor audio. The Preview to

HP key is now lit.

Auto: Pressing the Preview to HP key a sec-

ond time toggles Auto mode. In this mode, audio

from the Preview channel overrides the Head-

phone Monitor selection in the left headphone

channel only. Program audio is still present in

the right channel of the operator’s headphones.

Global Options Section

The Global Options keys are used to load Show

Proﬁles and to customize Monitor, Meter, Aux Sends/

Returns and Fader settings.

Prole Key

•

Pressing this key allows the board operator to browse

and select from the list of saved Show Proﬁles, custom

surface conﬁgurations that can be loaded as needed to

reconﬁgure Element for different shows and talent.

Preview Knob

•

This knob, at the top right of the Monitor section,

controls the volume of the source heard in the Preview

(cue) speakers. Rotate the knob to vary the gain of the

Preview speakers.

Preview To HP Key

•

This key toggles the Preview To Headphone func-

tion. When active, this function sends Preview audio

to the board operator’s headphones. When inactive, au-

dio from the Preview bus is heard exclusively in the

As soon as you “take” a new show proﬁle, Element

begins loading it. During the proﬁle loading process, a

status line reads Loading (Show Proﬁle Name) to

inform the operator of the operation in progress.

LOADING A NEW SOURCE WHILE ANOTHER SOURCE IS STILL ACTIVE: Element will nev-

er interrupt an active source in order to load a new one.

Let’s say that the operator has a satellite feed assigned to Channel 10, and this source is currently on-the-air (assigned to Program-

1, fader up, channel On). The board op loads

4: Element Operations • 53

Page 64

a new Show Prole to ready Element for the next show; the Show Prole he’s loading has a CD player assigned to Channel

10. Obviously, there’s a conict.

Instead of blindly changing the channel source and interrupting audio that’s on-the-air, Element queues the new source. When the board op is

nished with the satellite feed, he turns the

channel Off and the CD player automatically loads.

Along with selecting a new Show Prole to load,

users can reload the currently active proﬁle, resetting

the board to a “nominal” state if they wish to return

to their normal conﬁguration after making on-the-ﬂy

changes.

Select / Take: Rotate this knob to scroll through

the on-screen list of available Show Proﬁles. Push

the knob to “take” the new Show Proﬁle.

Previous: When you load a new Show Proﬁle,

Element remembers the previously loaded Pro-

ﬁle until you exit the Show Proﬁle screen. The

Previous command functions as a “speed key,”

highlighting the previously assigned source in

the source list and allowing the operator to re-

turn to it should they change their mind. Press

to “take.”

DON’T PANIC! Element is full of options intended to make life on-air easier and more intuitive for today’s talent. However, it’s possible for talent not yet familiar with the way Element works to “get lost” in the option settings.

Pressing and holding the Prole key for ve seconds instantly clears changes made to the

current Show Prole, resetting the Show Prole’s default settings. All is well, and your jock

once again knows where his towel is.

•

Monitor Options Key

Pressing this key reveals all sorts of neat options re-

lating to Monitor and Headphone behavior. The Monitor

Options screen is shown in Figure 4-14.

Pushing the TALK LEV SoftKnob selects be-

tween adjusting the levels of the Monitor 1 Talk

To and Dim levels and the Monitor 2 Dim level.

The active function is highlighted in yellow on

the screen. Turn the knob to adjust the values of

4: Element Operations • 54

Figure 4-13: Show Prole selection screen.

Figure 4-14: Monitor Options menu screen.

Page 65

these settings.

Rotate the HP LINK knob to choose whether

the headphone source will follow the Monitor

1 source selection. Push the knob to Take your

selection.

Linked means that Headphone and Monitor

1 selections will mirror each other; making a

selecton from one bank of keys on the Moni-

tor Module will automatically choose the

same source on the other bank.

Unlinked allows Monitor 1 and Headphone

sources to be selected independently of each

other.

The H/P PROC knob allows the board op to turn

Headphone Processing on and off, deﬁne how it

operates if active, and change Headphone Process-

ing settings. Pushing the HP Proc knob selects

Change Settings onscreen and takes the operator

to the H/P Process screen shown in Figure 4-15.

In this screen, the operator is presented with

a graphical representation of the EQ curve ap-

plied to the headphone channel. Talent can then

apply three-band parametric equalization to his

or her headphone channel, and select headphone

dynamics processing. The screen indicates the

amount of cut/boost applied, and the center fre-

quency of each band as well as a list of Omnia

processing presets.

Lo Gain/Bypass/Active: Rotating this Soft-

Knob adjusts the amount of gain or cut applied

to the low EQ band. Pressing this knob toggles

EQ between Active and Bypass. Note that the

EQ mode for this band automatically changes

to Peak mode when boost is applied, and Shelf

mode when cut is applied.

Rotating the Lo Freq knob adjusts the center

frequency of the low EQ band (20 - 320 Hz).

Rotating the Mid Gain and Mid Freq Soft-

Knobs adjust gain and center frequencies of

the midrange EQ band (125 Hz - 2 kHz).

The Hi Gain knob adjusts the boost/cut of the

high frequency band (1.25 kHz - 20 kHz).

Hi Freq/Shelf/Peak: Rotating this Soft-

Knob adjusts the center frequency of the high

EQ band (1 kHz - 16 kHz). Pushing this knob

toggles the high-band EQ method between

Peak and Shelf modes.

Press the Monitor Options key to return to

the previous menu.

Figure 4-15: H/P Process settings.

The H/P PREV knob controls whether audio

from the Preview bus can be fed to the board

op’s headphones, and if so, in what manner. Note

that operators can also press the Preview to

HP key on Element’s Monitor Module to toggle

through these settings. Rotating this knob selects

from the following options:

Off: The operator will not hear Preview au-

dio in the headphone channel.

On: audio from the Preview channel over-

4: Element Operations • 55

Page 66

4: Element Operations • 56

rides the Headphone Monitor selection and

is sent to both the left and right channels of

the operator’s headphones.

Split: Audio from the Preview channel

overrides the Headphone Monitor selection

in the left headphone channel only. Program

audio is still present in the right channel of

the operator’s headphones.

After making a selection, push the knob to

Take the new value.

MO MODE knob: Rotate to select from the fol-

lowing options.

Stereo: The selected source will be present-

ed in stereo on the Monitor speakers.

Left: The left channel of the selected source

will be presented in both Monitor speakers.

Right: The right channel of the selected

source will be presented in both Monitor

speakers.

Sum L+R: Both channels of the selected

source will be summed and presented to both

Monitor speakers.

After making a selection, push the knob to Take

the new value.

H/P MODE knob: Works like the MO MODE

knob described above, but affects the board op-

erator’s Headphone channel. Pressing Monitor

Options or Options exits this menu.

Meter Options Key

•

Pressing this key opens the Meters screen, where

you can choose whether the far-right on-screen meter

bars will display levels for the PGM-4 bus or for the

source feeding the Monitor 1.

Dedicated means the meter will be slaved to the

PGM-4 bus.

Follow Monitors means the meter will show

levels for any source assigned to Monitor 1.

Figure 4-16: Aux Sends menu screen.

Sends & Returns Key

•

This key affects global settings for the master send

and return levels of the four stereo Aux Send and two

stereo Aux Return buses. The outputs can be turned

On or Off and can be sent to the preview speakers and

headphones (if preview is enabled in headphones).

Element’s Aux buses can be used as utility buses for

mixing, for constructing custom IFB mixes, or as effects

buses for production. Pressing the Sends & Returns

key once takes you to the Aux Sends Master screen

(Figure 4-16); pressing it twice displays the Aux Re-

turns Master screen (Figure 4-17), and pressing a third

time exits the menu.

Aux Sends Master screen options:

The Send A/B/C/D SoftKnobs, when rotated,

set the Master Send Gain for each Aux Send bus.

Pushing any of these knobs toggles that individu-

al Aux Send Master On or Off.

The Select/Preview knob allows you to hear

any of the four Aux Send mixes in the Preview

channel. Push to preview; releasing to end the

preview.

Page 67

Figure 4-18: Fader Options menu scr een.Figure 4-17: Aux Returns menu screen.

Aux Returns Master screen options:

Rotate the Return A/On/Off SoftKnob to set

the audio level of Aux Return A. Push the knob

to toggle Aux Return A On or Off.

Rotate the adjacent Assign/Take knob to choose

which of the four Program buses to assign the

output of Aux Return A. Push the knob to Take

the assginment.

Rotate the Return B/On/Off SoftKnob to set

the audio level of Aux Return B. Push the knob

to toggle Aux Return B On or Off.

Rotate the adjacent Assign/Take knob to choose

which of the four Program buses to assign the

output of Aux Return B. Push the knob to Take

the assginment.

Rotating the Select/Preview knob allows you

to select either of the Aux Return mixes for au-

ditioning in the Preview channel; the on-screen

menu indicates which Aux Send is selected.

Push the knob to preview; release it to end the

preview.

Press the Sends & Returns key one more time to

exit the menu.

Fader Options Key

•

Element supports fader-normal and European-style

fader-start channel activation methods. Fader style can

be set either globally, or on a per-fader basis.

Each input’s Source Proﬁle contains a Fader Mode

choice, which lets you set the behavior of individual fad-

ers. The Global Fader Options menu allows you to set

the behavior of the entire console.

In default Normal operation, Element conforms to

the US method of requiring talent to manually turn the

channel on and off. Fader Star t mode follows the Euro-

pean convention of activating the channel and associated

machine logic when the fader is raised from ∞.

Rotate the St. Mode/Take SoftKnob to choose fad-

er modes:

Fader Normal: Selects the US convention.

Fader Start: Selects the Euro convention.

Retain Source Setting: Each individual fader

uses the settings speciﬁed in its Source Proﬁle.

Press the Fader Options key again to exit.

4: Element Operations • 57

Page 68

4: Element Operations • 58

Figure 4-19: Timer menu.

Note: Pressing and holding the Fader Options

key for ve seconds enters the IP Address Book discussed in Chapter 1.

Timer Section

The Timer control keys operate Element’s onscreen

event and countdown timers, and allow users to set op-

tions determining the behavior of these timers.

Timer Options Key

•

Pressing the Timer Options key opens the Timer

Menu (Figure 4-19). This menu allows users to adjust

how the onscreen timers behave. Note that the Soft-

Knobs are divided into two sections: Countdown Timer

and Count Up Timer.

The Countdown timer is useful for counting

down to network joins, top-of-hour IDs, and oth-

er events which require exact timing. The Count-

down timer is started, stopped and reset manu-

ally using the controls displayed when the Timer

Options key is pressed. To use:

Rotate the SoftKnob marked Begin Time/

Reset to set the interval from which the

countdown will begin. As you rotate, small

numbers below the red counter onscreen will

inform you of the new countdown interval.

Press the Begin Time/Reset knob to set the

new time you’ve dialed in.

Press the Start/Stop knob to begin or end

the countdown.

Pressing Freeze holds the on-screen Timer

display so you may take note of it; the timer

continues to count while the display is frozen,

and a second press of the Freeze again dis-

plays the running elapsed time counter.

“Look at me!!” During the last 60 seconds of the

countdown, the inner ring of Element’s onscreen analog clock will turn red and diminish as time passes, providing the operator with a visual cue

to how much time is left until zero.

The Count Up Timer is an event timer with three

•

modes, which can be set to start/stop/reset either au-

tomatically or manually. Using Source Proﬁles, you

can determine whether individual sources will start

or stop this timer automatically; the onscreen con-

trols described below allow the operator to override

or modify those settings.

Rotate the Timer Mode SoftKnob to choose how

the event timer will operate.

Choose Manual to start, stop and reset the

timer by hand using the controls displayed

when the Timer Options key is pressed.

Choose Auto-Reset and the timer will au-

tomatically reset to zero and begin counting

whenever a fader whose source starts the

timer is turned On.

Choose Auto-Add to have the timer count

up when a designated source’s fader is turned

On and stop counting when that source is

turned Off. In this mode, the timer will not

reset to zero when it is started.

Pressing the Timer Options key again exits this

menu.

Note: Pressing and holding the Timer Options Key opens the Clock & Timer Options Menu

Page 69

discussed in Chapter 1.

“Magic Key” Sequences for Standard Monitor Module

Reset Key:

•

Pressing this key resets Element’s Count Up Timer

to zero.

Freeze Key:

•

Pressing Freeze holds

the on-screen Timer display

so you may take note of it;

the timer continues to count

while the display is frozen,

and a second press of the

Freeze again displays the

running elapsed time coun-

ter.

Start/Stop Key:

•

If the Count Up Timer

is not running, pressing this

starts the count. If the timer

is running, pressing this key

stops the countdown and re-

tains the last displayed timer

interval.

Record Mode Section

Element’s Record Mode

is a special “one-touch”

mode which can be set to au-

tomatically start a designat-

ed record device so that tal-

ent can record a phone call

or remote interview with a

single button-press. Record

Mode can be enabled or dis-

abled for each Show Prole

(see Chapter 5, “Show Pro-

ﬁles”, for details).

Engage Key:

•

Figure 4-20:Monitor + 2-Fader Module + SoftKnobs

Press this key to put Element into Record Mode.

Pressing this button activates a pre-determined record-

ing device. Pressing the key a second time deactivates

Record Mode and stops the recorder.

The list of “Magic Key” sequences for the Standard

Monitor Module are:

IP Address Book: Press and hold the Fader Op -

•

tions key for 5 seconds.

Clock & Timer Settings:

•

Press and hold the Timer

Options key for 5 seconds.

Capture Mode: Press and

•

hold the Help key for 5 sec-

onds.

Test Mode: Press and hold

•

the Help and Right Arrow

keys for 5 seconds.

Monitor + 2-Fader Module Controls

The Monitor + 2-Fader

Module (Figure 4-20) al-

lows users to customize their

console design, adding two

full-fuction faders at the cost

of some direct-access con-

trol keys in the Monitor sec-

tion. No ﬂexibility has been

sacriﬁced, however; all the

functions provided by the

Standard Monitor Module

are present, but are accessed

differently. Controls for all

of Element’s options and

features are accessed via on-

screen menus with the aid of

SoftKnobs; constantly-used

controls like headphone and

monitor selection and vol-

ume, plus command keys

for the on-screen timers and

a numeric keypad for convenient dialing of telephone

systems and codecs are included. Since there are less

physical controls present on the Monitor + 2-Fader Mod-

ule than on the Standard Monitor Module, changes are

accomplished using the module’s SoftKnobs.

4: Element Operations • 59

Page 70

Figure 4-21: Channel Options Screen

Channel Options Controls

These controls allow the operator to custom-

ize the behaviour of individual faders. The op-

erator ﬁrst presses the Options key atop the fader

s/he wishes to modify; the Channel Options box is dis-

played on Element’s screen (Figure 4-21), and the Soft-

Knobs become active.

Placing a channel in Options mode lets you change

inputs, apply EQ, change pan position, invert phase, set

Aux Send and Aux Return levels, and adjust mix-minus

settings for that channel. The Options displays (Figure

4-6) give detailed channel information. Both the Ele-

ment channel number (the physical fader position, from

left to right) and the source assigned to that channel are

displayed for conﬁrmation.

takes you to the Source Selection screen.

Pressing the Exit knob returns you to Element’s

main display screen.

Channel Jumping: If any fader is in Options mode, you can “quick jump” to set options for other fader channels by pressing the Options key at the top of their channel strips.

For example, if you need to change the Source on several channels, select the rst channel using its Options key, and then choose the Chan- nel Options Source box. The Source Selection list will appear on-screen. Once the source reassignment is made, simply press the Options key on the next channel you want to assign a new source to; the Source screen will remain active, and you’re now adjusting settings for the new channel. The channel number is displayed

onscreen as conrmation.

•

Source Selection Controls

Pressing Select when the Source box is highlight-

ed displays the Source Selection menu, which displays

the currently selected source alongside a list of available

sources operators may select using the SoftKnobs. They

can also preview a source before selecting it.

Figure 4-21 shows the Channel Options screen that’s

displayed when any fader’s Options key is pressed, with

the functions of the SoftKnobs shown below:

Rotating the Function/Select knob selects the

options you can modify, highlighting the current

function in red. Pressing this knob allows you

to modify the selected item; i.e., pressing when

4: Element Operations • 60

the Source box is highlighted (as in Figure 4-21)

Figure 4-22: Source menu screen.

Page 71

Figure 4-23: Channel Options screens for the Monitor + 2-Fader Module. Information displayed differs based on the type

of source currently assigned to the ac tive fader. Clockwise from top left: Line Source Channel Options screen, Mic

Source Channel Options screen, Phone Source Channel Options screen, Codec Source Channel Options screen.

4: Element Operations • 61

Page 72

A Note About Source Sharing: Element’s source sharing protocol keeps sources from

being controlled by more than one console at a

time.

If an operator tries to assign a source that’s already in use on another console and has a

backfeed or logic control enabled, the ID box in

the Channel Options screen informs him that

he has “Listen Only” rights to the source (as seen in the righthand box above) - no backfeed will be sent from his console, and no machine

logic is tied to the fader’s ON/OFF keys.

If the source is not in use anywhere else, the operator is informed that they have “Full Con-

trol” of the source (as shown in the lefthand

box above), and backfeed and logic operate normally.

Select/Take

: rotating this SoftKnob scrolls

through the available sources. Push to take.

Preview

allows you to hear the highlighted

source through the Preview speakers without

haveing to “take” it. Press and hold to listen; re-

lease to end the preview.

Pressing the

Exit

Soft Knob returns you to the

Channel Options screen.

EQ Controls

•

Press the

is highlighted to adjust three-band parametric equaliza-

tion for the selected audio source. When the

Select

SoftKnob when the

EQ Curve

screen

box

is displayed, a graphical representation of the equaliza-

tion curve is displayed as the controls are adjusted. The

screen also indicates the amount of cut/boost applied,

and the center frequency of each band.

Rotate the

the

Function/Exit

Lo, Mid

SoftKnob to highlight

or Hi band knobs shown onscreen.

Notice that the left and center SoftKnob labels

change to display

Mid Freq

Function

The leftmost SoftKnob is the

and

knob.

to adjust the amount of

Lo Gain/Lo Freq, Mid Gain/

Hi Gain/Hi Freq

as you rotate the

Gain

control; rotate

gain or cut applied to the

selected band.

Note that when you adjust Lo Gain, the Shelf/

Peak indicator next to the onscreen control

4: Element Operations • 62

Figure 4-22: Source menu screen. Figure 4-23: EQ menu screen.

Page 73

automatically shifts to Peak mode when boost

is applied, and shifts to Shelf mode when cut

is applied.

Note that when you select the Hi band, the la-

bel below the Gain control displays Hi Peak

or Hi Shelf, depending on which mode has

been selected. Push the knob to toggle be-

tween the two modes.

The center SoftKnob is the Freq control and

adjusts the center frequency of the selected EQ

band.

In Lo Freq mode, rotating the knob adjusts

the center frequency of the low EQ band (25

- 400 Hz).

In Mid Freq mode, rotating the knob adjusts

the center frequency of the midrange EQ

band (100 Hz - 1 kHz).

In Hi Gain mode, the knob adjusts the boost/

cut of the high frequency band.

Pressing the center SoftKnob toggles EQ be-

tween Active and Bypass.

Pressing the Function/Exit SoftKnob

returns

you to the Channel Options screen.

Dynamics Controls

•

Dynamics controls are available if the selected

source is a Mic, Codec or Phone input. Pressing the Se-

lect SoftKnob when the Dynamics box is highlighted

allows you to adjust Gating, Compression and De-es-

sing for a microphone channel. Normally, these values

are part of a pre-set Show Proﬁle; however, on-the-ﬂy

control is provided for talent to make adjustments when

needed.

What is this stuff? Radio engineers don’t need a lesson in dynamics processing, but for the benet of any jocks reading this, here’s a quick explanation of what these controls can do.

A Gate is a dynamics device whose function

Figure 4-24: Dynamics menu screen.

is to remove unwanted audio material below a certain threshold. A gain circuit is employed to raise or lower the volume of the audio signal; when the signal falls below a certain set threshold, the audio level drops down to a predetermined level. The reason they are called gates is because when they “close” it sounds as if the audio has suddenly stopped, or has been

“gated.” You might use this on a mic channel to

eliminate background noise during times when you’re not speaking.

“fatter,” evening out the highs and lows of your

vocal pattern. It can also increase the overall perceived fullness of your voice. Too much compression, however, can make your voice sound hard and “squashed.” Use it sparingly!

4: Element Operations • 63

Page 74

4: Element Operations • 64

To use compression, you must rst set your

The Freeze Gate is used to prevent “suck-up”

of room noise during speech pauses. When active, gain is not increased by the compressor when audio is absent. “Freeze” would be the default, since it almost always improves results.

you’re talking through a cotton sock! Stick to

small amounts to get the effect you want.

Rotate the Function/Exit SoftKnob to highlight

the Exp (Expansion), Comp (Compression) or

De-Ess sections of the onscreen display. Note

that the labels above and below the left and cen-

ter SoftKnobs change based upon which section

is highlighted.

When the Expansion controls are active:

Rotating the Exp Thresh/Active/Bypass

SoftKnob varies the level of signal thresh-

old needed for the Gate function to activate

(between -50 and 0dB). Pushing this knob

toggles Dynamics between Active and By-

pass states.

The Exp Depth knob sets the amount of gain

reduction when audio level falls below the

Exp Gate Threshold value (adjustable be-

tween -3 and 0dB).

When the Compression controls are active:

Rotating the Comp Thresh/Bypass/Active

sets the upper limit of the level at which the

compressor will begin to work (between -30

and 0dB). Pushing the SoftKnob toggles be-

tween Active and Bypass states.

Comp Ratio/Freeze/No Freeze sets the

compression ratio (variable between 1:1 and

16:1). Pushing the SoftKnob activates and

deactivates the compressor’s Freeze Gate

function. When the Freeze function is active,

a red “lamp” illuminates just above the Com-

pression Ratio bargraph meter.

When the De-Ess controls are active:

Rotating the De-Ess Thresh/Bypass/Ac-

tive knob sets the audio level above which

the de-esser will be engaged (from -20 to

0dB). Pushing the SoftKnob toggles between

Active and Bypass states.

Rotating the De-Ess Ratio knob sets the

amount of sibilance reduction, in dB, that

will be applied (adjustable between 1:1 and

8:1).

Pressing the Function/Exit SoftKnob

returns

you to the Channel Options screen.

Pan & Mode Controls

•

Pressing the Select SoftKnob when the Pan &

Mode box is highlighted allows the operator to adjust

the pan or balance of the channel source and correct sig-

nal phase errors.

It’s a Lock: If a “padlock” icon appears in any options screen, that function is “locked out” in

Figure 4-25: Pan & Mode menu screen.

Page 75

the Source Prole and adjustments cannot be

made. In Figure 4-10, the padlock appears just

below the soundeld representation, above the

Mode indicator. The onscreen Mode SoftKnob is also “grayed out” to show that this function is unavailable.

Operators cannot “unlock” locked functions; if you wish to make locked functions available,

simply modify the source prole to allow them

and when the source is reloaded to the console, the padlock will have disappeared.

Rotating the Function/Exit knob selects be-

tween Pan, Mode and Phase controls. The

active control is highlighted onscreen, and the

labels of the SoftKnobs change depending on

which function is active.

When the Pan/Balance mode is active, ro-

tating the SoftKnob adjusts the the Pan set-

ting for mono sources and the Balance setting

for stereo sources. Push the knob to Take

your new settings.

When the Mode mode is active, rotating the

SoftKnob lets the board op switch source au-

dio between Stereo (discrete left/right), Left

(left source channel fed to L/R input), Right

(right source channel fed to L/R input) and

Sum (left and right source channels summed

to mono and fed to L/R input). Push to Take

the new setting.

When the Phase mode is active:

If the selected source is stereo, rotating this

control lets the board op compensate for out-

of-phase audio sources. Normal is used for

in-phase sources; Inv Left inverts the phase

of the left input channel only, Inv Right in-

verts the phase of the right input channel only,

and Invert Both reverses phase of both ste-

reo channels. Press to Take the new setting.

If the selected source is in mono, the choices

are Normal and Invert only. Press to Take

the new setting.

Pressing the Function/Exit SoftKnob

returns

you to the Channel Options screen.

•

Aux Sends Controls

Element has four stereo Aux buses that can be used

as utility buses for mixing, for constructing custom

Figure 4-26: Aux Sends menu screen.

IFB mixes, or as effects buses for production. Pressing

the Select SoftKnob when the Aux Sends boxes are

highlighted takes the operator to the Aux Sends control

screen.

Rotating the Select/Exit knob selects between

Aux Send A, B, C & D. The active control is

highlighted onscreen, and the labels of the Soft-

Knobs change depending on which Send is ac-

tive.

Send A/B/C/D / Pre/Post Fader:

Rotate this knob to adjust the level of the

audio you’ll be sending to the selected Aux

Send bus.

Pushing the Knob to toggle the activity state

of the selected Send. The state is indicated in

the onscreen display above.

On Pre sends the source assigned to the

›

fader to the selected Aux Send bus prior

to having its gain adjusted by the fader

(ﬁxed level).

On Post sends the source assigned to the

›

fader to the selected Aux Send bus after

having its gain adjusted by the fader (vari-

able level).

4: Element Operations • 65

Page 76

Off sends no audio to the Aux Send bus.

›

Pressing the Function/Exit SoftKnob

returns

you to the Channel Options screen.

Feed To Source Controls

•

If the assigned source (i.e., a codec or phone hybrid)

has an associated backfeed or mix-minus, Pressing the

Select SoftKnob when the Feed To Source box is

highlighted takes the operator to the Feed To Source

control screen. This selection is normally pre-set when a

Source Proﬁle is constructed (see Chapter Two, “Conﬁg-

uring Inputs,” for information on Source Proﬁles), but

can be modiﬁed on-the-ﬂy.

The Select/Take knob, when rotated, scrolls

through the list of available audio sources that

can supply backfeed or mix-minus. Press to Take

the highlighted source. Your choices are as fol-

lows:

Auto backfeeds audio from the Phone bus

when the channel is Off, and audio from the

Program-1 bus when the channel is On, with

mix-minus if needed.

Phone backfeeds audio from the Phone bus,

with mix-minus if needed.

Program 1 - Program 4 backfeeds audio

from the selected Program bus, with mix-mi-

nus if needed.

Aux Send 1 - Aux Send 4 backfeeds audio

from the selected Auxiliary bus, with mix-

minus if needed.

About the PHONE and PROGRAM 4 buses:

Element ’s Program 4 mix bus is a special multipurpose bus that does several things at once to make life easier for the operator.

Sources assigned to Program 4 are also sent to

the RECORD bus, a special xed-level output

that can be used to feed recording devices.

Rotating the Dim knob allows the operator to

adjust, in dB, the amount by which the studio

monitors are dimmed when this fader channel’s

Talkback key is pressed.

Pressing the Exit SoftKnob

returns you to the

Channel Options screen.

4: Element Operations • 66

Figure 4-27: Feed to Source menu scr een.

Monitor Section

This controls in this section provide direct operator

access to monitor selection and volume controls.

Monitor Options Key

•

This key lets the operator access many options re-

lating to Monitor and Headphone behavior. There are

two different Monitor Options screen; the ﬁrst is shown

when the key is initially pressed, and a second is display

when the key is pressed another time.

The ﬁrst Monitor Options screen is shown in Fig-

ure 4-28:

Rotating the Function/Exit SoftKnob high-

lights the different control boxes onscreen, mak-

ing the highlighted control active. Labels on the

other SoftKnobs change depending on context.

Page 77

Figure 4-28: Monitor Options menu screen #1. Figure 4-29: Headphone EQ menu screen.

assigned to the monitor speakers. So how can

When the Talk to Monitor 1 Talk and Dim or

Talk to Monitor 2 Dim control is highlighted,

rotating the TALK LEV SoftKnob adjusts the lev-

els of the Monitor 1 Talk To and Dim levels and

the Monitor 2 Dim level.

When the Headphones Follow Monitors box

is highlighted, rotating the HP LINK/Take

chooses whether the headphone source will fol-

low the Monitor 1 source selection. Push the

knob to Take your selection.

Linked means that Headphone and Monitor

1 selections will mirror each other; making a

selecton from one bank of keys on the Moni-

tor Module will automatically choose the

same source on the other bank.

Unlinked allows Monitor 1 and Headphone

sources to be selected independently of each

other.

the operator select a headphone source if s/he choosees to Unlink the headphones?

When Unlinked is chosen in the Headphones Follow Monitors box, the Preview knob doubles as the headphone source selector. When the operator pushes the Preview knob, the Head-

phone Source menu is displayed. Voila!

When the Headphone Processing box is highlig-

ted, pressing the HP Proc/Take knob selects

Change Settings onscreen and takes the operator

to the H/P Process screen shown in Figure 4-29.

When the

screen is displayed, a graphical rep-

resentation of the equalization curve is displayed

as the controls are adjusted. The screen also in-

dicates the amount of cut/boost applied, and the

center frequency of each band.

Rotate the Function/Exit SoftKnob to high-

light the Lo, Mid or Hi band knobs shown

onscreen. Notice that the left and center Soft-

Knob labels change to display Lo Gain/Lo

The strongest link: You’ve noticed that there

are no Direct Selection Keys for the headphone source on the Monitor + 2-Fader Module. By default, CR Headphones and Monitor 1 sources are linked - the phones will play whatever source is

Freq, Mid Gain/Mid Freq and Hi Gain/Hi

Freq as you rotate the Function knob.

The leftmost SoftKnob is the

rotate to adjust the amount of

Gain

control;

gain or cut ap-

4: Element Operations • 67

Page 78

plied to the selected band.

Note that when you adjust Lo Gain, the

›

Shelf/Peak indicator next to the onscreen

control automatically shifts to Peak mode

when boost is applied, and shifts to Shelf

mode when cut is applied.

Note that when you select the Hi band, the

›

label below the Gain control displays Hi

Peak or Hi Shelf, depending on which

mode has been selected. Push the knob to

toggle between the two modes.

The center SoftKnob is the Freq control and

adjusts the center frequency of the selected

EQ band.

In Lo Freq mode, rotating the knob ad-

›

justs the center frequency of the low EQ

band (25 - 400 Hz).

In Mid Freq mode, rotating the knob ad-

›

justs the center frequency of the midrange

EQ band (100 Hz - 1 kHz).

In Hi Gain mode, the knob adjusts the

›

boost/cut of the high frequency band.

Pressing the center SoftKnob toggles EQ be-

tween Active and Bypass.

in the left headphone channel only. Program

audio is still present in the right channel of

the operator’s headphones.

After making a selection, push the knob to

Take the new value.

When the Monitor Mode box is highlighted, the

operator can rotate the Monitor/Take knob to

select from the following options.

Stereo: The selected source will be present-

ed in stereo on the Monitor speakers.

Left: The left channel of the selected source

will be presented in both Monitor speakers.

Right: The right channel of the selected

source will be presented in both Monitor

speakers.

Sum L+R: Both channels of the selected

source will be summed and presented to both

Monitor speakers.

After making a selection, push the knob to Take

the new value.

When the Headphone Mode box is highlighted,

the HP Mode knob is active. This control works

the same as the Monitor Mode control described

above, but affects the board operator’s headphone

channel.

Pushing the Function/Exit knob returns you to

the main Element screen.

When the Preview to Headphones box is

highlighted, the HP Prev/Take knob controls

whether audio from the Preview bus is fed to the

board op’s headphones, and if so, in what man-

ner. Rotating this knob selects from the following

options:

Off: The operator will not hear Preview au-

dio in the headphone channel.

On: audio from the Preview channel over-

rides the Headphone Monitor selection and

is sent to both the left and right channels of

the operator’s headphones.

Split: Audio from the Preview channel

4: Element Operations • 68

overrides the Headphone Monitor selection

The second Monitor Options screen (press the

Monitor Options key a second time) is shown in Fig-

ure 4-30:

Rotating the Function/Exit SoftKnob high-

lights the different control boxes onscreen, mak-

When the Rightmost Meter box is highlighted,

ing the highlighted control active. Labels on the

other SoftKnobs change depending on context.

rotating the Met Mode/Take knob selects how

the far right meter on Element’s main screen will

behave. Pressing this knob will Take your selec-

tion.

Dedicated means the meter will be slaved to

Page 79

Figure 4-30: Monitor Options menu screen #2.

the PGM-4 bus.

Follow Monitors means the meter will show

levels for any source assigned to Monitor 1.

Send buses.

The Send A/B/C/D SoftKnobs, when ro-

tated, set the Master Send Gain for each Aux

Send bus. Pushing the knob toggles the se-

lected Aux Send Master On or Off.

Pushing the Preview knob sends the high-

lighted Aux Send mix to the Preview chan-

nel. Push to preview; release to end preview.

Element features two stereo Aux Return buses

whose output can be applied to any of the four

PGM buses. When the knobs in the Aux Returns

box are highlighted, the Return A/B knob af-

fects global gain settings for the master levels of

the two Aux Return buses.

The Return A/B SoftKnobs, when rotated,

set the Master Send Gain for each Aux Send

bus. Pushing the knob toggles the selected

Aux Return Master On or Off.

Rotate the adjacent Assign/Take knob to

choose which of the four Program buses (or

the Preview bus) to assign the output of the

selected Aux Return. Push the knob to Take

the assgnment.

When the Fader Options box is highlighted,

pressing the St. Mode SoftKnob selects between

fader-normal and European-style fader-start

channel activation methods.

Fader Normal: Selects the US method of re-

quiring talent to manually turn channels on

and off.

Fader Start: Selects the European conven-

tion of activating the channel and associated

machine logic when the fader is raised from

∞.

Retain Source Setting: Each individual

fader uses the settings speciﬁed in its Source

Proﬁle.

Element features four stereo Aux Send buses for

use as utility, FX or IFB buses. When the knobs

in the Aux Send Masters box are highlighted,

the SEND A/B/C/D knob affects global gain

settings for the master levels of the four Aux

Pressing the Function/Exit SoftKnob at any

time returns you to Element’s main meter screen.

Monitor 1 Knob + Source Keys

•

This knob, at the bottom left of the Monitor section,

controls the selection and volume of the source heard

in the Monitor 1 speakers (typically the Control Room

monitors).

Rotate the knob to vary the gain of the Monitor

1 speakers.

Use the Direct Selection Keys in the column di-

rectly above the Monitor 1 knob to send the out-

put of Program 1 - Program 4 or the two Ex-

ternal monitor sources to the Monitor 1 speakers.

These keys light to denote the selected source.

You can listen to any frequently-used audio

stream in your facility instantly (such as a net-

work feed, off-the-air monitor or another studio’s

Program output) by assigning it to one of the two

4: Element Operations • 69

Page 80

4: Element Operations • 70

External selector keys - like preset buttons on a

car radio.

Press and hold both External selector keys to

open the Monitor 1 Source menu, which al-

lows you to select from a list of Program and Aux

Send buses.

Programming the External Monitor Selector keys: If you press and hold either of these

keys for ve seconds, a list of available audio

streams will pop up onscreen. You can then scroll through this list and select the source you want to hear in the monitors when that key is pressed. Each External key is independently programmable.

You can also pre-program the source assigned to these keys when you construct or capture

Show Proles, using the options available on the

Monitor page of the Show Prole setup menu.

Headphone Knob

•

This knob, at the bottom right of the Monitor section,

controls the volume of the source heard in the board

operator’s headphones.

Rotate to vary the gain of the Headphone feed.

By default, the Headphone feed is linked to

and follows the Monitor 1 source selection. To

unlink the two and choose an independent head-

phone source, please see the description on Page

66 of this manual.

Preview To HP Key

•

This key toggles the Preview To Headphone func-

tion. When active, this function sends Preview audio

to the board operator’s headphones. When inactive, au-

dio from the Preview bus is heard exclusively in the

Preview speakers. The Preview To HP key illuminates

when this function is active.

There are three different Preview to HP modes; the

current mode is indicated by an annunciator on the Ele-

ment display screen just below the headphone selection

tally.

Off: When Preview to HP is off, the selector key

is unlit. No preview audio will be heard in the

board-op’s HP path.

On: Pressing the Preview to HP key once from

the Off state sends preview audio, when present,

into both sides of the operator’s headphone feed,

overriding the Monitor audio. The Preview to

HP key is now lit.

Auto: Pressing the Preview to HP key a sec-

ond time toggles Auto mode. In this mode, audio

from the Preview channel overrides the Head-

phone Monitor selection in the left headphone

channel only. Program audio is still present in

the right channel of the operator’s headphones.

Preview Knob

•

This knob, at the top right of the Monitor section,

controls the volume of the source heard in the Preview

(cue) speakers. Rotate the knob to vary the gain of the

Preview speakers.

The Preview knob is also used to select the source

of the CR Headphone feeed when headphones are not

linked to the CR Monitor selection. Please see Page 66

of this manual for more information on this function.

Monitor 2 Knob

•

This knob, at the top left of the Monitor section, con-

trols the selection and volume of the source heard in the

Monitor 2 speakers (typically Studio or News booth

monitors).

Rotate to vary the Monitor 2 speaker gain.

Push the knob to see an on-screen display of

sources that can be assigned to the Monitor 2

feed. Rotate to highlight the desired source, and

push again to “take”.

Talk To Monitor 2 Key

•

The board operator can push and hold this key to

talk to the talent listening to the Monitor 2 feed. While

the key is depressed, audio from the Control Room mic

channel is fed, pre-fader, to the Monitor 2 speakers

and headphones (if used). Releasing the key ends the

talkback function.

Other Controls

Keys in this section are used to load Show Proﬁles,

Page 81

control the onboard clock and timers, engage Record

Mode and invoke hidden setup screens.

Prole Key

•

Pressing this key allows the board operator to browse

and select from a list of saved Show Proﬁles, custom

surface conﬁgurations that can be loaded as needed to

reconﬁgure Element for different shows and talent.

As soon as you “take” a new show proﬁle, Element

begins loading it. During the proﬁle loading process, a

status line reads Loading (Show Proﬁle Name) to

inform the operator of the operation in progress.

LOADING A NEW SOURCE WHILE ANOTHER SOURCE IS STILL ACTIVE: Element will nev-

er interrupt an active source in order to load a new one.

Let’s say that the operator has a satellite feed assigned to Channel 10, and this source is currently on-the-air (assigned to Program-

1, fader up, channel On). The board op loads

a new Show Prole to ready Element for the next show; the Show Prole he’s loading has a CD player assigned to Channel

10. Obviously, there’s a conict.

Instead of blindly changing the channel source and interrupting audio that’s on-the-air, Element queues the new source. When the board op is

nished with the satellite feed, he turns the

channel Off and the CD player automatically loads.

Along with selecting a new Show Prole to load,

users can reload the currently active proﬁle, resetting

the board to a “nominal” state if they wish to return

to their normal conﬁguration after making on-the-ﬂy

changes.

Select / Take: Rotate this knob to scroll through

the on-screen list of available Show Proﬁles. Push

the knob to “take” the new Show Proﬁle.

Previous: When you load a new Show Proﬁle,

Element remembers the previously loaded Pro-

ﬁle until you exit the Show Proﬁle screen. The

Previous command functions as a “speed key,”

highlighting the previously assigned source in

the source list and allowing the operator to re-

turn to it should they change their mind. Press

to “take.”

Figure 4-31: Load Prole screen.

Exit returns the operator to Element’s main op-

erating screen.

Pressing and holding the Prole key for ve seconds instantly clears changes made to the

current Show Prole, resetting the Show Prole’s default settings. All is well, and your jock

once again knows where his towel is.

Timer Section

The Timer control keys operate Element’s onscreen

event and countdown timers, and allow users to set op-

tions determining the behavior of these timers.

Timer Options Key

•

Pressing the Timer Options key allows users to ad-

just how the onscreen timers behave. Pressing the Timer

Options key once opens the Count Up Timer controls;

pressing it twice opens the Countdown Timer.

4: Element Operations • 71

Page 82

4: Element Operations • 72

Figure 4-32: Timer controls.

Note: Pressing and holding the Timer Options Key opens the Clock & Timer Options Menu discussed in Chapter 1.

The Count Up Timer is an event timer with three

modes, which can be set to start/stop/reset either au-

tomatically or manually. Using Source Proﬁles, you

can determine whether individual sources will start or

stop this timer automatically; the onscreen controls de-

scribed below allow the operator to override or modify

those settings.

Rotate the Timer Mode/Reset SoftKnob to

choose how the event timer will operate. Your

choice will be displayed onscreen just below the

Count Up Timer readout.

Choose Manual to start, stop and reset the

timer by hand using the controls displayed

when the Timer Options key is pressed.

Choose Auto-Reset and the timer will au-

tomatically reset to zero and begin counting

whenever a fader whose source starts the

timer is turned On.

Choose Auto-Add to have the timer count

up when a designated source’s fader is turned

On and stop counting when that source is

turned Off. In this mode, the timer will not

reset to zero when it is started.

Press Timer Mode/Reset to return the Count

Up Timer to zero.

Press Start/Stop to begin and end the Timer’s

countdown.

Pressing Freeze holds the on-screen Timer dis-

play so you may take note of it; the timer con-

tinues to count while the display is frozen, and

a second press of the Freeze again displays the

running elapsed time counter.

The Countdown timer is useful for counting down to

network joins, top-of-hour IDs, and other events which

require exact timing. The Countdown timer is started,

stopped and reset manually using the controls displayed

when the Timer Options key is pressed. To use:

Rotate the SoftKnob marked Begin Time/Re-

set to set the interval from which the countdown

will begin. As you rotate, small numbers below

the red counter onscreen will inform you of the

new countdown interval.

Press the Begin Time/Reset knob to set the

new time you’ve dialed in.

Press the Start/Stop knob to begin or end the

countdown.

Pressing Freeze holds the on-screen Timer dis-

play so you may take note of it; the timer con-

tinues to count while the display is frozen, and

a second press of the Freeze again displays the

running elapsed time counter.

“Look at me!!” During the last 60 seconds of the

countdown, the inner ring of Element’s onscreen analog clock will turn red and diminish as time passes, providing the operator with a visual cue

to how much time is left until zero.

Reset Key:

•

Pressing this key resets Element’s Count Up Timer.

Freeze Key:

•

Pressing Freeze holds the Count Up Timer dis-

play so you may take note of it; the timer con-

Page 83

PRE ON

Σ PROGRAM 1

PGM 1

Σ PROGRAM 2

Σ PROGRAM 3

Σ PROGRAM 4

PGM 4

PGM 3

PGM 2

HOST

MICROPHONE

SOURCE

EQ / DYN

PHASE

PRE FDR

PRE FDR ON

AUX 1

Σ AUX SEND 1

AUX 1

AUX 2

Σ AUX SEND 2

AUX 2

AUX 3

Σ AUX SEND 3

AUX 3

AUX 4

Σ AUX SEND 4

AUX 4

PVW

Σ PREVIEW

FADER PAN

TALK TO X MIX

Σ TALK TO X

MUTE

HI, MID, LO EQ

COMPRESSOR

DE-ESSER

NOISE GATE

NORMAL

INVERT

TO INTERNAL NODE

GAIN CELL

SPST SWITCH

PHYSICAL CONNECTION

EXTERNAL CONNECTION

FROM INTERNAL NODE

SPDT SWITCH

ADD

SIGNAL MODE

DSP CELL

PAN / BALANCE

SUBTRACT

GANGED SWITCHES

MUTUALLY EXCLUSIVE SWITCHES

Legend

Figure 4-33: Control Room Operator Microphone channel block

tinues to count while the display is frozen, and

a second press of the Freeze again displays the

running elapsed time counter.

Start/Stop Key:

•

If the Count Up Timer is not running, pressing this

starts it. If the timer is running, pressing this key stops

the countdown and retains the last displayed timer in-

terval.

Record Mode Section

Element’s Record Mode is a special “one-touch”

mode which can be set to automatically start a desig-

nated record device so that talent can record a phone call

or remote interview with a single button-press. Record

Mode can be enabled or disabled for each Show Prole

(see Chapter 5, “Show Proﬁles”, for details).

Engage Key:

•

Press this key to put Element into Record Mode.

Pressing this button activates a pre-determined record-

ing device. Pressing the key a second time deactivates

Record Mode and stops the recorder.

“Magic Key” Sequences for Monitor + 2-Fader Module

The list of “Magic Key” sequences for the Standard

Monitor Module are:

IP Address Book: Press and hold the * (star), 4 &

•

7 keys on the keypad for 5 seconds.

Clock & Timer Settings: Press and hold the Timer

•

Options key for 5 seconds.

Capture Mode: Press and hold the * (star) & 2

•

keys on the keypad for 5 seconds.

Help Screen: Press and hold the * (star) &

•

# (pound) keys on the keypad for 5 seconds.

Test Mode: Press and hold the Help and Right Ar-

•

row keys for 5 seconds.

Source-Specic Channel Controls

Some fader functions change their behavior to suit

the type of source assigned to the fader. A Guest Mic in-

put has unique functions different from those of a Codec

input, and so forth. In this section we’ll explain the chan-

nel functions unique to each type of source input, as well

as providing functional block diagrams of each type.

4: Element Operations • 73

Page 84

Control Room Operator Mic Channel Operation

The Control Room Operator microphone is the

board operator’s mic. It’s always located in the Control

Room, so activating a channel designated as the CR Op-

erator mic affects Studio 1 monitor speaker and Preview

speaker muting.

ers will mute when this channel is turned on, or when

Preview or Record Mode are selected. Control Room

Guest mics can be turned on and off remotely, and pro-

vide on/off status to a remote logic device. Remote Talk

and Remote Mute functions are also provided, and can

be activated using a remote On/Off/Talk/Mute panel.

When the board operator pushes a Talkback key, all

output bus assignments for the Control Room Operator

microphone are temporarily muted, while his mic’s au-

dio is routed to the requested Talkback destination. Re-

leasing the button returns the channel outputs to normal.

(Pushing your own Talkback key does nothing.)

Pressing the channel On key for the CR Operator

Mic while the channel is already on will mute the chan-

nel until the button is released, acting as a “cough” func-

tion for the board operator. On-air status and speaker

mutes are unaffected by this action. The CR Operator

microphone channel will mute both the Studio 1 speak-

ers and the Preview speakers whenever the channel is

On, or if Preview or Record Mode Engage keys are

selected.

The block diagram for this channel selection is

shown in Figure 4-33.

Producer Microphone Channel Operation

The Producer’s microphone is meant to be used at

position within the Control Room where a morning

show or talk show producer would normally sit. This

mic type mimics the operation of the Control Room mic

described above, but does not include the “cough” func-

tion; also, a Producer mic can use Talkback to talk to

the board op, but cannot talk directly to the Monitor 2

talkback channel.

Control Room Guest Microphone Channel Operation

There are often microphones in the Control Room

other than the board operator’s; i.e., an in-studio guest

wing, or perhaps an announcer located physically near

the board op. These microphones control the muting of

the Control Room monitor speakers.

Remote Talk lets talent and guests communicate

with the board operator. When Talk is remotely activat-

ed on a CR Guest mic channel, outputs to program buses

for that channel are muted and the mic audio is fed to the

Talkback bus. While this is active, the Status Symbol on

the guest’s fader strip displays a T icon. When the user

stops talking, the channel returns to normal. The opera-

tor can then reply using the fader’s Talkback key.

When the Remote Mute function is activated, the

Status Symbol displays X, and all the channel outputs

are muted until the command is released.

Control Room Guest Microphone channels will mute

the Control Room speakers and the Preview speakers

whenever the channel is On, or if Preview or Record

keys are selected. If only the Phone key is selected, the

Control Room speakers will mute independently, leav-

ing the Preview speakers un-muted.

Finally, Control Room Guest Microphone channels

have provisions for an individual Headphone feed. This

is especially useful for talent and guests in the same

room as the board operator; their headphone feeds will

all monitor the audio selected on the Monitor 2 selec-

tor, but the board op can communicate with each person

privately using Talkback key on their fader strip.

The block diagram for this channel selection is

shown in Figure 4-34.

Studio Microphone Channel Operation

The third type of mic channel is a Studio Microphone.

This mic is typically located in a location separate from

the control room — perhaps a voice-over booth, a talk

studio separated by glass, or a news booth.

4: Element Operations • 74

The Studio 1monitor speakers and Preview speak-

Logic for Studio Microphone channels is identical

Page 85

DRAWING UPDATED 2-11-08

Figure 4-34: Control Room Guest Microphone channel block

4: Element Operations • 75

Page 86

STUDIO GUEST

MICROPHONE

SOURCE

EQ / DYN

PHASE

PRE FDR

PRE FDR ON

AUX 1

Σ AUX SEND 1

AUX 1

AUX 2

Σ AUX SEND 2

AUX 2

AUX 3

Σ AUX SEND 3

AUX 3

AUX 4

Σ AUX SEND 4

AUX 4

PRE ON

Σ PROGRAM 1

PGM 1

Σ PROGRAM 2

Σ PROGRAM 3

Σ PROGRAM 4

PGM 4

MUTE PREVIEW

Σ PREVIEW

FADER PAN

PGM 3

PGM 2

JOIN TALK MIX

Σ TALK TO X

TALK TO MON1

Σ TALK MON 1

HI, MID, LO EQ

COMPRESSOR

DE-ESSER

NOISE GATE

NORMAL

INVERT

MON 2 FEED

PGM 1 MON

PGM 1

PGM 2 MON

PGM 2

PGM 3 MON

PGM 3

PGM 4 MON

PGM 4

USER A

USER B

USER C

USER D

MODE

STEREO

LEFT RIGHT MONO

REMOTE MONITOR SELECTOR MODULE

(OPTIONAL)

ACTIVATE

REMOTE

MON SELECT

FEED TO

STUDIO GUEST

HEADPHONE

TALK

DIM

TALK TO X MIX

4: Element Operations • 76

Figure 4-35: Studio Microphone channel block

Page 87

to that of the Control Room Guest Microphone chan-

LINE

SOURCE

EQ / DYN

PHASE

MODE

PRE FDR

PRE FDR ON

AUX 1

Σ AUX SEND 1

AUX 1

AUX 2

Σ AUX SEND 2

AUX 2

AUX 3

Σ AUX SEND 3

AUX 3

AUX 4

Σ AUX SEND 4

AUX 4

PRE ON

Σ PROGRAM 1

PGM 1

Σ PROGRAM 2

Σ PROGRAM 3

Σ PROGRAM 4

PGM 4

FADER PAN

PGM 3

PGM 2

JOIN TALK TO X MIX

Σ TALK TO X

MUTE PREVIEW

Σ PREVIEW

HI, MID, LO EQ NORMAL

INVERT LEFT

INVERT RIGHT

INVERT BOTH

STEREO

LEFT

RIGHT

SUM L+R

nel. Studio Microphone channels can be turned on and

off remotely and provide on/off status to a remote logic

device. Remote Talk and Remote Mute functions are

providedfor use with a remote On/Off/Talk/Mute panel.

Remote Talk lets talent and guests communicate

with the board op. When Talk is remotely activated, out-

puts to program buses for that channel are muted and the

source audio is fed to the Talkback bus. While active,

the Talkback key is lit and the Status Symbol displays

TALK. When the user stops talking, the channel returns

to its previous state, and its Talkback key ﬂashes for

three seconds, alerting the board op to the guest who

spoke to him, and enabling reply via the Talkback key.

When Remote Mute is activated, the Status Symbol

will display MUTE, all channel outputs are muted until

the key is released, and the channel is again active.

The Monitor-2 speakers mute when a Studio Micro-

phone channel is turned on, or if it is assigned to the

Program-4/Record bus.

The Studio Microphone channel can be associated

with an individual Headphone feed. All Studio Micro-

phone-associated feeds will monitor the audio selected

on the Monitor 2 selector, but the board op can commu-

nicate privately using the Talkback function.

The block diagram for this channel selection is

shown in Figure 4-35.

Line Channel Operation

Line-level devices like CD players, tape players, etc.,

use the Line Channel proﬁle. The Line Channel is ste-

reo, but the user can change the input mode to mono, left

only or right only by using the Pan & Mode key in the

Master Module’s Channel Options section.

Line channels have a variety of remote logic func-

tions available at the GPIO interface. On and Off keys

can be remotely controlled, as well as the Preview key.

Each function has a corresponding lamp driver.

Figure 4-36: Line channel block

4: Element Operations • 77

Page 88

DRAWING UPDATED 2-11-08

4: Element Operations • 78

Figure 4-37: Phone channel block

Page 89

A Reset function is provided to remotely turn the

channel Off while suppressing the Stop command, use-

ful for allowing certain types of tape machines to re-cue.

You’ll also ﬁnd a Ready command which will remotely

illuminate the Off lamp on the Element channel and ac-

tivate the GPIO Off lamp driver, allowing source equip-

ment to signal the operator with either a steady-state Off

button (indicating source ready) or a ﬂashing Off button

(indicating source next). Refer to the GPIO Node User’s

Manual for information on interfacing to the GPIO’s in-

puts and outputs.

The block diagram for this channel selection is

shown in Figure 4-36.

Phone Channel Operation

The Phone Channel proﬁle is used, naturally, for tele-

phone hybrid audio sources. Each Phone Channel has its

own discrete Feed-to-Source mix-minus output.

on and off remotely, and will provide on/off status to a

remote logic device. Remote Preview is also provided,

as are lamp drivers for On, Off and Preview. Start and

Stop pulses can be sent when the channel is turned on or

off, respectively. See the GPIO User’s Manual for infor-

mation interfacing to GPIO inputs and outpus.

The block diagram for this channel selection is

shown in Figure 4-37.

Codec Channel Operation

The Codec Channel is used for codec sources. Like

the Phone Channel, each codec source is brought up on

its own channel, and an individual Feed-to-Source (mix

minus) output is provided for each codec. Codec Chan-

nels can be turned on and off remotely and provide on/

off status to a remote logic device. Remote Talk and

Remote Mute are also provided, allowing talent to take

control using their own On/Off/Mute/Talk panels.

Each Element can accomodate as many unique, au-

tomatically-generated mix-minus feeds as it has faders.

If the Feed-to-Source mode is set to “Auto” (the most

common option - see Chapter Two, “Conﬁguring In-

puts,” for the section entitled “Source Proﬁle Options”),

phone callers hear the output of the Program-1 bus, mi-

nus himself, when the the channels they’re assigned to

are On. When the caller’s channel is Off, their channel’s

Talkback key is lit and they hear the Board Operator’s

mic routed to their Talkback feed.

When a Phone Channel has been assigned to an

Element fader, the Status Symbol display located above

the channel name will display an icon to show the board

operator what is being fed to the caller.

Phone feed-to-source outputs can also be locked to

backfeed only PGM-1, PGM-2, PGM-3 or PGM-4, us-

ing the options provided when constructing the Source

Proﬁle for your hybrid. This automatic switching mode

makes it very easy to prep callers and then seamlessly

put them on the air with a minimum of button pushes.

(See Chapter Two).

Channels conﬁgured for Phone sources can be turned

Talk enables remote talent to communicate with the

board op using the Talkback bus. When Talk is acti-

vated, all outputs for that channel are muted and the

source audio is fed to the Talkback bus; the channel’s

Talkback key lights, and its Status Symbol displays

T. When the user stops talking, the channel returns to

normal, and its Talkback key ﬂashes for three seconds,

alerting the board operator to the guest who spoke to

him, and enabling him to reply using the Talkback key.

When the remote mute function is activated, the Sta-

tus Symbol displays M, and all the channel outputs are

muted until the command is released.

The mix-minus output normally feeds Program-1

audio to the remote, but can be switched to Program-

2. The Feed-to-Source output on a Codec Channel is

a dual mono output, occupying both sides of the stereo

pair. The Left output is normally used for remote talent’s

headphone feed, and is interrupted by Talkback audio

when the board op talks to the remote. The Right output

sends uninterrupted program audio for use as a PA feed.

The block diagram for this channel selection is

shown in Figure 4-38.

4: Element Operations • 79

Page 90

DRAWING UPDATED 2-11-08

4: Element Operations • 80

Figure 4-38: Codec channel block

Page 91

DRAWING UPDATED 2-11-08

Figure 4-39: Element Master Output block

4: Element Operations • 81

Page 92

DRAWING UPDATED 2-11-08

4: Element Operations • 82

Figure 4-40: Monitor 1 Output block

Page 93

DRAWING UPDATED 2-11-08

Figure 4-41: Monitor 2 Output block

4: Element Operations • 83

Page 94

What’s Next

One of Element’s most powerful features is the abil-

ity to instantly reconﬁgure the entire surface for differ-

ent show types. Join us in Chapter Five to learn how to

set up and use Show Proﬁles. q

4: Element Operations • 84

Page 95

in “ready mode.”

Chapter Five:

Show Proﬁles

If you’ve already read Chapter Two, “Conﬁguring

Inputs,” you already have a good understanding of how

Source Proﬁles are essential to Element operation.

In the same way that Source Proﬁles allow you to

pre-determine how an individual channel is conﬁgured

when a source is loaded, Show Proﬁles let you build con-

ﬁguration ﬁles that can be loaded to determine how the

entire Element behaves, and which sources are loaded,

and what channels they appear on.

By assembling sets of Show Proﬁles, each user can

have the board set up his or her favorite way — sources

placed where they’re most useful, monitors set to the ap-

propriate feed, headphones conforming to personal pref-

erence. Or, you can use Show Proﬁles to deﬁne different

types of broadcasts – one for the morning show, one for

talk segments, one for musical guest interviews, one for

unattended operation – that need only to be loaded to

instantly reconﬁgure the board for use with a different

situation.

Creating A Show Proﬁle

The ﬁrst step in building a Show Proﬁle is to set up

Element using the Channel Options, Monitor Options

and and other board options as described in Chapter

Four, “Element Operations.” Get started by assigning a

source to each Element channel using the Options keys

at the top of each channel.

Reminder: You can speed the setup process by “Channel Jumping” while using the Options menus.

For example, to quickly assign sources, select the Options key on Channel 1 and choose Source from the Channel Options menu. Use the Soft Knobs, Control Knob or Nav Keys to select a source from the list; “take” the source and then press the Options key on Channel 2. You’ll see the indicator at the top of the Channel Options screen change to read Chan-

nel 02 to conrm that you’re now program-

ming Channel 2.

Repeat the proceedure until you’ve programmed all your channels. You can now choose other

Channel Options to congure using the same

method.

After you’ve assigned a source for each channel, you

can conﬁgure the rest of the Channel Options:

Equalization,

•

Pan / Balance,

•

Aux Sends, and

•

Feed to Source.

•

Build A Show

Element’s Web interface, which you’ve used to con-

struct Source Proﬁles, is also used to help build Show

Proﬁles, so make sure a computer with a Web browser is

connected to your Livewire network within easy reach.

Your Element is shipped from the factory with a de-

fault Show Proﬁle. This loads the ﬁrst time you turn on

your Element; it provides the “blank slate” you’ll use to

construct custom Show Proﬁles. You’ve no doubt been

exploring your Element, so you might want to reload

the Default Show Proﬁle using Show Proles key lo-

cated on Element’s Master Module to make sure you’re

When you’ve conﬁgured all Channel Options, con-

tinue on and make monitor and headphone selections

and adjust Aux Send / Aux Return settings if necessary,

since these are all saved in Show Proﬁles as well.

When you’ve got the board conﬁgured to your satis-

faction, proceed to the next section.

Capture It!

It’s now time to save your Element conﬁguration.

Enter Element’s IP address in your Web browser.

When the Main Menu appears, choose “Conﬁguration”

5: Show Proles • 85

Page 96

5: Show Proles • 86

under the “Sources & Proﬁles” heading on the sidebar

menu. This is where you’ll come whenever you need to

capture, construct or administer a Show Proﬁle.

Under ths Show Proﬁles list, you’ll then ﬁnd four op-

tions:

Default Show Prole. This is the “starter” pro-

ﬁle that comes with Element. If you wish, you

can overwrite this with your preferred default

options; otherwise, consider it as “return to zero”

conﬁguration option, for use in returning Ele-

ment to a “blank slate” condition.

New Show Prole. Choose this option when

you want to construct an entire

Show Proﬁle completely from

scratch.

Capture Show Prole. Takes

a “snapshot” of the current board

state and saves it for recall. This is

the option we’ll use in just a mo-

ment.

You’ve already set up your Element, so

now you can just “capture” your settings

for further use. Choose Capture Show

Prole from the menu. You’ll be prompt-

ed to give your new proﬁle a unique name;

after you do, it’ll be added to the list of

available proﬁles. Voila! You’ve just cre-

ated and saved a Show Proﬁle, which can

Figure 5-1: Show Prole

Settings Menu

now be recalled for use whenever you

wish.

However, there may be a few more options you’d like

to tweak — options not accessible from Element itself.

Let’s go a little deeper into Show Proﬁles to ﬁnd out

exactly what’s available to you.

Suggestion: As part of Element training, show your talent how to use the Channel Options and Monitor Options menus (discussed in Chapter Four) to assign sources and set monitor options.

Then, let them set up the board exactly the way

they want it, then use the Capture command to save their work. This way, talent gets the satisfaction of personalizing their own Element con-

guration — and saves you the work!

Show Proﬁle Options

Although the ability to create Show Proﬁles using

Element’s “capture” function is powerful, there are

more options available exclusively via the Element Web

interface.

In the last section, we showed you how to capture the

current conﬁguration of your Element, easily creating a

Show Proﬁle, which was immediately added to the Show

Proﬁles list.

Now, click on that newly created proﬁle. It’s prob-

ably named something like “Capture 2004-

2-12 0:800” — the date and time the cap-

ture was made.

You’ll see the menu shown in Figure

5-1. Notice that there is an entry for each

of your Element’s faders, as well as a link

for Auxiliary Send & Return, Monitor

Section, Record Mode, Group Start

and Phone.

The Channel Description Screen

Click on any of the Channel links to

examine the settings for a fader. Many

of the options will seem familiar to you;

you’ve seen them before, during Source

Proﬁle setup.

Let’s look at these options one-by-one; notice as we

go that the ﬁelds match the choices you made for this

channel, using Element’s Options menus, prior to cap-

turing the Show Proﬁle.

Note: in addition to “active” options – choices that are ac tively made to Element settings

when loading a new Show Prole – there is

also a “passive” option for many items: Retain Source Setting. Choosing Retain allows the

setting for this option to “cascade” from the

Source Prole attached to the source loaded

on this channel.

For example, you’ve set a Show Prole to load

the Control Room Host mic on Channel 1. You

Page 97

specied an EQ boost of 2 dB @ 1200 Hz in the Source Prole for the Control Room Host mic;

checking the Retain Source Setting option here in the Channel Description Screen allows

that previously-dened EQ setting to “ride along”

when the source is loaded — without your having to specify it again.

EQ HIGH FREQUENCY: You can specify the top of

•

the High Frequency Shelf, or the middle frequency

of the Bandpass ﬁlter (depending upon which mode

was chosen for EQ High Mode), or Retain Source

Setting.

Channel Description Section

SOURCE ID: The name of the source you assigned

•

to this fader. You can change the source using the

drop-down box.

FEED TO SOURCE MODE: Specify PGM-1/2/3/4,

•

AUX SEND A/B/C/D or AUTO mix-minus for this

source, or Retain Source Setting. Choosing Auto

for any phone source feeds the caller PGM-1 minus

when the fader is On, and Phone (PGM-4 pre-fad-

er) when the fader is Off.

AUTO-START TIMER: Determines whether turning

•

this fader on will start/reset the Event Timer. You

can Enable, Disable or Retain Source Setting.

SIGNAL MODE: Choose from Stereo, Left (left

•

channel fed to both sides), Right (right channel fed

to both sides), Sum (sum L+R to mono and feed to

both sides) or Retain Source Setting.

SIGNAL MODE LOCK: Unlock or Lock the tal-

•

ent’s ability to change the Signal Mode, or Retain

Source Setting.

PANORAMA POSITION: Use Pan /Balance adjust-

•

ment for this source, or Retain Source Setting.

PHASE: Adjust for phase errors. May be set to Nor-

•

mal, Invert Left, Invert Right, Invert Left And

Right, or Retain Source Setting.

EQ MID FREQUENCY / EQ LOW FREQUENCY:

•

Choose the middle frequency of the Low and Middle

EQ bands, or Retain Source Setting.

EQ HIGH GAIN / EQ MID GAIN / EQ LOW GAIN:

•

dial in boost or cut for the three EQ bands, or Retain

Source Setting.

Note: For details on Element EQ operations, please refer to Chapter Two, “Working With Sources.”

ASSIGN TO PGM1/2/3/4 and AUX A /B/C/D: Check-

•

ing ON for any of these buses assigns the fader to that bus

when the Show Proﬁle is loaded. You can also choose OFF

or Retain Source Settings.

AUX A / AUX B / AUX C / AUX D PRE/POST

•

FADER: Allows you to send this fader’s source to the

speciﬁed Aux Send bus either Pre-Fader or Post-

Fader, or Retain Source Settings.

AUX SEND A/B/C/D GAIN: Turn this channel’s

•

feed to the speciﬁed Aux Send bus Off, specify up

to 10 dB of boost or 25 dB of cut, or Retain Source

Settings.

NOISE GATE STATUS: Turns the Noise Gate in the

•

Omnia Dynamics Processing on and off. Specify

Active or Bypass, or choose Retain Source Set-

ting. (Only applies to Mic sources.)

EQ ACTIVE: Make EQ Active for this fader/dource

•

combo, Bypass it, or Retain Source Setting.

EQ HIGH MODE: Switches high-frequency EQ

•

mode between Shelf and Bandpass (peak), or Re-

tain Source Setting.

COMPRESSOR STATUS: Turns the compressor in

•

the Omnia Dynamics Processing on and off. Specify

Active or Bypass, or choose Retain Source Set-

ting. (Only applies to Mic sources.)

DE-ESSER STATUS: Turns the de-essing function in

•

the Omnia Dynamics Processing on and off. Specify

5: Show Proles • 87

Page 98

Active or Bypass, or choose Retain Source Set-

ting. (Only applies to Mic sources.)

NOISE GATE THRESHOLD: Determines the point

•

at which the Noise Gate will operate (if set to Ac-

tive). Adjustment range is between 0dB and -50dB,

or Retain Source Settings.

COMPRESSOR THRESHOLD: Determines the point

•

at which the Compressor will operate (if set to Ac-

tive). Adjustment range is between 0dB and -30dB,

or Retain Source Settings.

DE-ESSER THRESHOLD: Determines the point at

•

which the Compressor will operate (if set to Active).

Adjustment range is between 0dB and -20dB, or Re-

tain Source Settings.

COMPRESSOR RATIO: Sets the amount of com-

•

pression that will be applied to the mic audio. Ad-

justment range is between 1:1 and 16:1, or Retain

Source Settings.

DE-ESSER RATIO: Sets how aggressively the

•

de-esser will remove sibilance from the mic audio.

Adjustment range is between 1:1 and 8:1, or Retain

Source Settings.

NOISE GATE DEPTH: Sets the amount of noise

•

reduction that will be applied to the mic audio if

the noise gate is set to Active and the Noise Gate

Threshold is reached. Adjustment range is between

0dB and -30 dB, or Retain Source Settings.

fader On or Off when the Show Proﬁle is loaded.

CONTROL LOCK MAP: Place a check mark in any

•

of these boxes to keep the board op from changing

the selections for this fader’s bus assignments, On/

Off state and fader position.

About Channel Lock and Fader Operation:

Say that your station runs syndicated programming overnight, and you want to eliminate the possibility that the feed could be inadvertently disrupted. Choose Lock for the channel the feed is assigned to, and the channel cannot be turned off, or bus assignment changed, until the channel is unlocked.

Note that there is currently no option to allow presetting the fader gain. When you load a Show Prole which species a Locked fader, the gain value is locked to the position of the fader at the moment the Show Prole is loaded.

When you Unlock the fader using the Channel Options menu, the fader will resume working normally from the current position. You can move it and lock again in a different position if you wish.

If the fader has been moved, the rst touch after Unlocking immediately resets the gain to the fader’s current position.

GROUP START: Specify whether this fader is a

•

Master, Slave or Independent. This setting is

tied to those displayed in the Show Proﬁle Group

Start Screen; a change made here will apply on the

Group Start Screen, and vice-versa. (For more in-

formation on the Group Start Function, please refer

to the Group Start Screen description later in this

chapter.

COMPRESSOR MODE: Change the voice compres-

•

sor between Freeze and No Freeze modes, or Re-

tain Source Settings.

BACKWARD FEED DIM GAIN: Set how much the

•

program audio being fed back to this source will be

dimmed when the source is being talked to using the

Talkback feature. Adjustment range is 0dB to -30dB,

or Retain Existing Setting.

CHANNEL ON/OFF STATUS: Allows you to turn

5: Show Proles • 88

•

MOTOR FADER POSITION: Motorized Element

•

faders can be set to assume a predeﬁned position

when a Show Proﬁle is loaded. Choose Off to disable,

Use to specify a level to use (from -73 dB to +10 dB),

or Retain Existing Setting.

Page 99

Individual Headphones Section

Note: These controls apply ONLY IF:

• The loaded source is a Mic-type source.

• The loaded source has an individual headphone feed associated with it.

• The position at which the mic is installed also has an Element accessory panel that allows tal-

ent to select their own headphone feeds (such as the one shown in Figure 5-2).

•

CURRENT SOURCE: The source currently speciﬁed

for monitoring in the Monitors page of

the Show Proﬁle.

•

SOURCE FOR PRESET 1: Specify the

source that will load when the acces-

sory panel’s Ext 1 key is pressed.

•

SOURCE FOR PRESET 2: Specify the

source that will load when the acces-

sory panel’s Ext 2 key is pressed.

•

HEADPHONES MASTER GAIN: Spec-

ify the initial amount of gain that the

Individual Headphone Feed will have

when the Show Proﬁle loads. Turn then

Off or Use up to 85 dB of cut.

menus, the Auxiliary Send Description Screen captures

the global Aux Send settings that can be set using the

Global Options Sends & Returns Key located on the

Master Module.

Note: Instead of the Retain Source Settings option found in the Channel Descriptions pages, the Auxiliary Send Descriptions Screen features a new option: Retain Existing Settings. Using this option with any of the Aux Send/Return

settings allows the Show Prole to be loaded

without disturbing the Aux Send/Return master settings in use by the board operator.

From the Show Proﬁle Settings web

page, choose the Auxiliary Send/Return

Data link. You’ll ﬁnd the following op-

tions:

Aux Send A / B / C / D Master Gain:

•

Selecting Off turns off master gain adjust-

ment for each Aux Send’s outbound feed.

Select Use and enter a gain value between

-25 dB and 10 db to trim overall gain if de-

sired, or select Retain Existing Setting.

Aux Send A / B / C / D On/Off Sta-

•

tus: Choose Off to turn the selected Aux

Send 1 off completely, On to turn it on, or

Retain Existing Setting.

Finishing Up...

Finally, there are two more controls at

the very bottom of the screen:

•

SAVE CHANGES button applies any changes made

to the current Channel Description. If you don’t click

this button, your changes won’t be saved!

•

BACK TO SHOW PROFILE link takes you back to

the Show Proﬁle Settings menu.

The Auxiliary Send And Return

Description Screen

In the same way that the Show Proﬁle Channel De-

scription screens mirror Element’s Channel Options

Figure 5-2: an

Element accessory

panel with headphone

selec tor

Use and enter a gain value between -25 dB and 10

db to trim overall return gain if desired, or select

Retain Existing Setting.

Aux Return 1 / 2 On/Off Status: Choose Off to

•

turn the selected Aux Return off completely, On to

turn it on, or Retain Existing Setting.

Aux Return 1 / 2 Signal Mode: Choose from

•

Stereo, Left (left channel fed to both sides), Right

(right channel fed to both sides), Sum (sum L+R to

mono and feed to both sides) or Retain Existing

Setting.

Aux Return 1 /2 Master Gain: Select-

•

ing Off turns off master gain adjustment

for the selected Aux Return bus. Select

5: Show Proles • 89

Page 100

5: Show Proles • 90

Aux Return 1 / 2 Panorama Setting: Trim Pan/

•

Balance for the selected Aux Return, or Retain Ex-

isting Setting.

Aux Return 1 / 2 Assign to PGM1 / PGM2 /

•

PGM3 / PGM4: Choose On to fold the selected Aux

Return into any of the four PGM buses, or choose

Retain Existing Setting.

Aux 1 / 2 Source ID: If this drop-down box looks

•

familiar, that’s because it’s just like the ones you

used earlier to construct Source Proﬁles and map I/O

to Axia Audio Nodes. Click in the box and select the

audio device that will be providing source audio for

the Aux 1 or Aux 2 Return.

Save Changes button applies any changes made to

•

the Auxiliary Send Description and returns you to

the Show Proﬁle Settings menu.

Back to Show Prole link takes you back to Show

•

Proﬁle Settings without saving changes.

Monitor Section Screen

The Monitor Section Data screen captures the Moni-

tor settings found in Element’s Monitor Options menus.

Since you’re working on a “captured” Show Proﬁle, this

page will, of course, mirror the choices you made when

you set up Element in the beginning of this chapter.

From the Show Proﬁle Settings web page, choose the

Monitor Section Data link (refer to Figure 5-4). You’ll

ﬁnd the page divided into four sections: general options,

Control Room Monitor options, Control Room Head-

phone options, and Studio Monitor options.

General Monitor Options

TIMER MODE: Lets you decide globally how the

•

onscreen Count Up (event) timer will behave when

this proﬁle is loaded:

Choose Manual to start, stop and reset the timer

by hand using the controls displayed when the

Timer Options key is pressed.

Choose Auto-Reset and the timer will automat-

ically reset to zero and begin counting whenever

a fader is turned On.

Choose Auto-Add to have the timer count up

when a fader is turned On and stop counting

when that source is turned Off. In this mode, the

timer will not reset to zero when it is restarted.

SHOW TENTHS ON: Allows you to set the Count-

•

down and Count Up timers to show or hide tenths of

a second displays. Choices are:

No Timers: tenths of a second are hidden on

both timers.

Down Timers: tenths are shown only on Count-

down timers.

Up Timers: tenths are shown only on Count Up

timers.

Both Timers: All timers display tenths of a sec-

ond readouts.

FADER MODE: Sets the fader behavior globally for

•

this Show Proﬁle. Choose from:

Normal: faders are turned on and off manually.

Fader Start: faders turn on when the fader is

raised and off when it is lowered to ∞.

Retain Source Setting: Each individual fader

behaves as its Source Proﬁle dictates.

PREVIEW INTERLOCK MODE: If Enable is chosen,

•

pressing any fader’s Preview key causes any other,

previously-lit Preview key to be extinguished, re-

moving that source from Preview. The board opera-

tor can assign multiple faders to Preview by push-

ing and holding any lit Preview key while pushing

other Preview keys to add or subtract.

If Disable is chosen, each Preview key works like

a press-on, press-off latching switch. Multiple fad-

ers can be assigned to Preview simply by pushing

once; a second push cancels any individual Preview

assignment.

SWITCHED METER SOURCE SELECT: Choose

•

whether the far-right on-screen meter bars will dis-

play levels for the PROGRAM (PGM-4) bus, the

source feeding the Control Room Monitors (Moni-