Axia iQ, QOR.32, iQ Frames Installation & User Manual

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Page 1

iQ Console System

Installation & User’s Guide

Manual Rev 1.3.1 — June, 2014

for iQ v1.00 and higher

p/n 1490-00067-001

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

specied 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.

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 re, re-

place fuse only with same type and value.

Caution

The installation and servicing instructions in the

manual are for use by qualied personnel only. To

avoid Electric Shock, do not perform any servicing

other than that contained in the operating instruc-

tions unless you are qualied to do so. Refer all ser-

vicing to qualied personnel.

NOTE: Objectionable interference to TV or radio re-

ception 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:

“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

numeriQue n’emet pas de bruits radioelectriQues

depassant les limites applicables aux appareils nu-

meriQues (de les Class A) prescrites dans le Regle-

ment 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.

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 equipment is designed to be operated from a

power source that includes a third “grounding” con-

nection in addition to the power leads. Do not defeat

this safety feature. In addition to creating a potential-

ly hazardous situation, defeating this safety ground

will prevent the internal line noise lter from func-

tioning.

Ventilation Warning

The Axia QOR.32 requires the free ow of air for

adequate cooling. Do not block the ventilation open-

ings in the top and rear of the unit. QOR.32 must be

mounted with a blank rack space above or damage

may occur.

Failure to allow proper ventilation could damage the

unit or create a re hazard. Do not place the units on

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

fere with any panel ventilation openings.

Page 3

Customer Service

We support you...

By Phone/Fax.

• You may reach our 24/7 Support Team anytime around the clock by calling +1 216-622-0247. For billing

questions or other non-emergency technical questions, call +1 216-241-7225 between 9:30 AM to 6:00 PM

USA Eastern Time, Monday through Friday.

By E-Mail.

• Non-emergency technical support is available at [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 iQ and QOR.32 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.

We recommend joining the Axia Tech mailing list to ensure that you receive immediate updates regarding new software or documentation releases. You can do so by clicking the “Sign Up Here” links at the top of the Axia Download and Manuals pages at AxiaAudio.com/manuals/ and AxiaAudio.com/downloads/.

Trade mark s

Livewire is a trademark of TLS Corporation. All other trademarks are the property of their respective holders.

Axia Audio 1241 Superior Ave. Cleveland, OH 44114 USA

+1 (216) 241-7225

[email protected]

Introduction • iii

Page 4

Notice

Feedback is welcome

Introduction • iv

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 Two Year limited war-

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

section of this manual.

Service

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 specically re-

quested by the Technical Support Engineer at Axia.

Be sure to adequately insure your shipment for its

replacement value. Packages without proper authori-

zation may be refused. US customers please contact

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

er customers should contact their local representative

to arrange for service.

We strongly recommend being near the unit when

you call, so our Support Engineers can verify infor-

mation about your conguration 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.

Credit Where Credit’s Due

Thanks to the great folks on the Axia team who

produced a great product and helped to compile this

manual - Denny, Gints, Maciej, Marc, Maris, Mar ty,

Milos, Oleg — we are honored to work with all of

you. cn and bw.

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

anything in this manual that you feel needs clarica-

tion or correction, please let us know by sending an

e-mail to [email protected] .

About This Manual

This manual covers the details of the iQ Frames

and QOR.32. Axia’s iQ is designed to operate as a

standalone console however it also has network ca-

pabilities. To learn more about these concepts, you

may wish to read Introduction to Livewire: System

Design Reference and Primer and Audio Over IP:

Building Pro AoIP Systems with Livewire by Steve

Church and Skip Pizzi, available from Elsevier Press.

In these publications we explain the ideas that mo-

tivated Livewire and how you can use and benet

from it, as well as nitty-gritty details about wiring,

connectors, 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

background for Livewire’s fundamentals. After read-

ing this reference material, you will know what’s up

when you are speaking with the network guys that

are often hanging around radio stations these days.

Although we strive for accuracy, some features and

operational characteristics may differ in actual use

from their descriptions herein. We invite feedback

and corrections from our clients.

Axia Audio

1241 Superior Avenue

Cleveland Ohio 44114 USA

Ph one: +1.216.241.7225

Web: www.AxiaAudio.com

E-Mail: [email protected]

Page 5

Table of Contents

Customer Service . . . . . . . . . . . . . . . . . .iii

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

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

Credit Where Credit’s Due . . . . . . . . . . . . .iv

About This Manual . . . . . . . . . . . . . . . . . iv

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

Getting Started . . . . . . . . . . . . . . . . . . . . . . 1

Preview Mode . . . . . . . . . . . . . . . . . . 15

Preview Switching. . . . . . . . . . . . . . . .15

Auto-Start Timer. . . . . . . . . . . . . . . . .15

Logic Port . . . . . . . . . . . . . . . . . . . 16

Feed to Source. . . . . . . . . . . . . . . . . .16

Feed to Source Dim Gain . . . . . . . . . . . . 16

Live Controls . . . . . . . . . . . . . . . . . . 17

iQ Outputs . . . . . . . . . . . . . . . . . . . . . . .17

V-Mixer and V-Mode . . . . . . . . . . . . . . . . . 18

Adding Backfeeds and GPIO . . . . . . . . . . . . .19

Chapter One: Setup And Connections . . . . . . . . . 3

Introduction . . . . . . . . . . . . . . . . . . . . . . 3

The Basics . . . . . . . . . . . . . . . . . . . .3

Assigning an IP Address. . . . . . . . . . . . .3

Notes on Physical Installation . . . . . . . . . 3

QOR.32: Front Panel . . . . . . . . . . . . . . . . .4

Front Panel Indicators . . . . . . . . . . . . . . . 4

QOR.32: Rear Panel. . . . . . . . . . . . . . . . . .5

Power. . . . . . . . . . . . . . . . . . . . . . . .5

Audio Connections . . . . . . . . . . . . . . . . . 6

GPIO Connections . . . . . . . . . . . . . . . . . 7

Ethernet Connections. . . . . . . . . . . . . . . .7

iQ Frame and CANBus Connections. . . . . . . .7

IP Address Conguration. . . . . . . . . . . . . .8

Console Conguration . . . . . . . . . . . . . . . 9

Chapter Two: Inputs and Outputs . . . . . . . . . . . 11

Inputs . . . . . . . . . . . . . . . . . . . . . . . . . 11

What’s a Prole? . . . . . . . . . . . . . . . . . . . 12

Show Proles . . . . . . . . . . . . . . . . . . . .12

Source Proles . . . . . . . . . . . . . . . . . . . 12

Source Conguration . . . . . . . . . . . . . . . 12

Creating a New Source . . . . . . . . . . . . . 13

Source Type . . . . . . . . . . . . . . . . . . . 13

Source Input. . . . . . . . . . . . . . . . . . .14

Primary Source . . . . . . . . . . . . . . . . . 14

Signal Mode (Non-Microphone Sources) . . . . 14

Signal Phase (Non-Microphone Sources). . . .14

Record Mode . . . . . . . . . . . . . . . . . . 14

Fader Trim Gain . . . . . . . . . . . . . . . . 14

Equalizer . . . . . . . . . . . . . . . . . . . . 14

Panorama Position . . . . . . . . . . . . . . . 15

Source Availability . . . . . . . . . . . . . . . 15

Fader Mode . . . . . . . . . . . . . . . . . . . 15

Chapter Three: Console Operation. . . . . . . . . . .21

Overview . . . . . . . . . . . . . . . . . . . . . . . 21

Displays . . . . . . . . . . . . . . . . . . . . .

Show Proles . . . . . . . . . . . . . . . . . . 21

Sources, Channels and Faders . . . . . . . . . 21

Mix-Minus . . . . . . . . . . . . . . . . . . . .21

GPIO . . . . . . . . . . . . . . . . . . . . . . 22

Software . . . . . . . . . . . . . . . . . . . . .22

iQ Main Frame - Callouts and Operation . . . . . 22

System Settings . . . . . . . . . . . . . . . . . 27

iQ 8-Fader Expansion Frame . . . . . . . . . . . 27

iQ 6-Fader+Telco Expansion Frame . . . . . . . 27

iQ 6-Fader+User Keys Expansion Frame . . . . .29

Source-Specic Channel Controls. . . . . . . . . . .29

Control Room Operator Mic Channel . . . . . 29

Producer Microphone Channel . . . . . . . . . 29

Control Room Guest Microphone Channel . . . 29

Studio Microphone Channel . . . . . . . . . . 30

External Microphone Channel . . . . . . . . . 30

Phone Channel . . . . . . . . . . . . . . . . . 30

Codec Channel . . . . . . . . . . . . . . . . . 30

Remote Control . . . . . . . . . . . . . . . . . 31

Chapter Four: Show Proles . . . . . . . . . . . . . . 33

Creating A Show Prole. . . . . . . . . . . . . . . .33

Show Prole Options . . . . . . . . . . . . . . . . . 34

Chapter Five: Conguring GPIO . . . . . . . . . . . .39

GPIO Port Denitions . . . . . . . . . . . . . . . . .39

GPIO Operator’s Microphone Logic. . . . . . . .40

GPIO Control Room Guest Microphone Logic . . 41

GPIO Studio (Monitor 2) Guest Microphone Logic 42

GPIO Producer’s Microphone Logic. . . . . . . .43

GPIO Line Input Logic . . . . . . . . . . . . . . .44

Introduction • v

Page 6

GPIO Codec Logic . . . . . . . . . . . . . . . . . 45

GPIO Telephone Hybrid Logic . . . . . . . . . . .46

GPIO Control Room Monitor Logic . . . . . . . . 47

GPIO Studio Monitor Logic . . . . . . . . . . . . 48

GPIO Computer Playback Device Logic. . . . . .49

GPIO Film Legendable User Button Module / Acces-

sory Panel / Rack Panel . . . . . . . . . . . . . .

GPIO Recording Device Logic. . . . . . . . . . .51

Assigning GPIO to a Source. . . . . . . . . . . . . .52

Connections to GPIO Ports . . . . . . . . . . . . . . 53

Input Connections . . . . . . . . . . . . . . . . .

Output Connections . . . . . . . . . . . . . . . . 54

Virtual GPIO . . . . . . . . . . . . . . . . . . . . 54

Conguring and using iQ User Keys . . . . . . . . . 55

Chapter Six: Advanced Controls . . . . . . . . . . . . 57

iQ Conguration Screens . . . . . . . . . . . . . . . 57

The iQ Control Center . . . . . . . . . . . . . . . 57

The Status Screen . . . . . . . . . . . . . . . . 57

The Setup Menu . . . . . . . . . . . . . . . . . 57

The Customize Menu . . . . . . . . . . . . . . 58

Log, Log History and Log Setup Menus . . . . 59

Brightness Control Menu . . . . . . . . . . . . 60

User Modules Menu. . . . . . . . . . . . . . .60

GPIO Conguration Menu . . . . . . . . . . . 60

Remote. . . . . . . . . . . . . . . . . . . . . .60

Prole Manager Menu . . . . . . . . . . . . . 61

IO Manager Menu. . . . . . . . . . . . . . . .61

Ethernet Switch settings (Precongured) . . . . 61

Chapter Seven: Networking with iQ . . . . . . . . . . 63

Inputs . . . . . . . . . . . . . . . . . . . . . . . . . 63

Outputs . . . . . . . . . . . . . . . . . . . . . . . . 64

GPIO. . . . . . . . . . . . . . . . . . . . . . . . . .65

Networking . . . . . . . . . . . . . . . . . . . . . . 65

Appendix A: iQ Specications . . . . . . . . . . . . . 67

Table of Inputs and Outputs . . . . . . . . . . . . . 68

Appendix B: iQ Block Diagrams . . . . . . . . . . . . 73

Appendix C: Channel / IP Worksheets . . . . . . . . . 81

Warranty . . . . . . . . . . . . . . . . . . . . . . . . . 85

Introduction • vi

Page 7

A Note From The Vice President of Axia

2013 marks a banner year for Axia — this year

marks the rst decade of the Connected Studio.

In retrospect, it’s hard to believe it’s been 10 years

since a start-up division of Telos grabbed everyone’s

attention with a radical idea about building radio stu-

dios using Ethernet. At a time when “state of the art”

meant discrete digital audio, and a routing switcher

was something only the richest stations could af-

ford, Axia shocked everyone with the idea that studio

peripherals from the console to the audio processor

could be networked, and that everyone could have the

benets of a routing switcher — for about a third of

the cost of traditional technology.

When we launched Axia, Telos founder Steve

Church made a prediction. “Three things will hap-

pen,” Steve told us. “First, people will say that ‘it will

never work.’ When they’re proven wrong, they’ll say

‘It works, but you don’t need that.’ And nally, as they

see Axia becoming successful, they’ll say ‘IP-Audio?

We do that too!’”

Steve, as always, was right on the money. In 10

years, Axia Livewire has become the world’s most

popular IP-Audio networking technology, and our

mixing consoles are the world’s best-selling — they’re

on-air in over 4,000 studios, and counting. You’ll nd

Axia equipment everywhere: at privately-owned sta-

tions, and large clusters run by big conglomerates. At

established public broadcasters, and at newly-licensed

International stations. At government broadcast facili-

ties, and podcast studios. Needless to say, we’re hum-

bled by the trust broadcasters place in us — and by

your enthusiasm!

of IP-Audio. Axia consoles are the rst and only IP-

Audio consoles with a pre-congured network switch

built in, to save broadcasters the effort and expense

of procuring and programming third-party switches.

Our compact xNode AoIP interfaces feature one-but-

ton setup, and can run on mains power or Power over

Ethernet (PoE) for exibility and redundancy. We’ve

even developed our own zero-conguration Ethernet

switch for Livewire – xSwitch – to make deploying

IP-Audio easier than ever.

More than 45 Livewire partners believe in the vi-

sion of the Connected Studio too. Collectively, they

make dozens of hardware and software products

(ranging from telephone systems to audio processors

to program automation) that interoperate directly with

Axia networks via Ethernet – making the connec-

tions “smart”, and eliminating the need to purchase

audio conversion devices. We’ve also partnered with

the high-performance audio standard RAVENNA to

expand broadcasters’ networking options even further.

And there are a lot more great new ideas in the cooker

— so watch this space!

In the nal analysis, Axia’s success isn’t due to

our efforts. It’s you, the broadcast professional, who

has embraced our vision, used our technology in ways

we never dreamed of, and raved about Axia products

to everyone who’d listen. We owe you a huge debt of

thanks. And we promise to never stop trying to amaze

and delight you.

So here’s to the next 10 years.

Onward and upward!

Being rst with new technology is nice, but we’ve

never been content to rest on our laurels. So the Telos

R&D team continues to innovate and expand the scope

Marty Sacks

Vice President, Axia Audio

Introduction • vii

Page 8

CAT.6, m n ig

 n n dt r rt.

Wh ag s ts?.

Introduction • viii

Page 9

Getting Started

The following chapters of this manual will give you

an in-depth understanding of the capabilities of your

new iQ fader frames and QOR.32, from installation to

advanced functions. This section will help you get ev-

erything connected quickly, and point you to the parts

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

minimum of fuss.

The Axia iQ family consists of these components:

• iQ Main Frame: 8-fader frame with master con-

trols and meters.

• iQ 8-Fader Frame: 8-fader expansion frame

• iQ 6-Fader+User Keys: Optional expansion

frame includes 6 faders and two banks of pro-

grammable user keys.

• iQ 6-Fader+Telco: Optional expansion frame

includes 6 faders and a Telos-style dual channel

hybrid controller.

• QOR.32: Rack-mounted CPU chassis with au-

dio I/O and GPIO connectors.

• QOR Backup Power Supply: Optional rack-

mounted backup power supply.

Making Connections

You’ve probably unpacked your boxes and are sitting

next to a pile of Axia gear, wondering what to do rst.

Here’s what you need to know in order to get started:

1. Packed with each of your iQ Frames is a cable

with 6-pin Molex™ connectors on each end. This is

the power/communications cable. Connect the end of

the cable without the strain relief to the correspond-

ing port on the iQ Frame connection panel. Connect

the other end of the cable to one of the connectors

labeled CONSOLE on the back of your QOR.32 unit.

You can use a maximum of three iQ Frames with

each QOR.32. One must be an iQ Main Frame.

2. Connect all iQ audio sources (microphones,

CD players, etc) to inputs of your QOR.32.

3. Connect monitor ampliers, headphone ampli-

ers, etc to outputs of your QOR.32. Be sure to set all

ampliers to their minimum volume setting.

4. Follow the instructions found in Chapter 1 to

congure IP address settings for the QOR.32.

5. Refer to the User’s Manuals packed with any

other Axia Audio Nodes for information on how to

congure IP addresses for these units.

What’s Next?

When you’ve completed physically connecting your

Axia hardware, jump to Chapter 2 for a quick tutorial

on conguring audio sources. With that done, you’ll be

a hop, skip, jump away from being on-air! After that,

you’ll likely want to do some in-depth reading about all

The iQ Family: (top L-R) iQ 6-Fader, iQ 8-Fader, iQ Phone, iQ Main Frame, (bottom) QOR.32 and QOR Backup PSU

Getting Started • 1

Page 10

your new iQ can do. Here’s a brief description of the con-

tents of the following chapters:

• Chapter 1: iQ Frames and QOR.32 explains con-

nections and basic iQ setup.

• Chapter 2: iQ Inputs and Outputs explains how to

generate Source Proles and construct backfeeds for

selected sources.

• Chapter 3: iQ Operations takes you behind the

scenes to explore operator controls and options.

• Chapter 4:Show Proles illustrates how to set and

save unique “snapshots” tailored for specic shows.

These Show Proles can be instantly recalled when-

ever needed.

• Chapter 5: GPIO tells how to associate routable

logic commands with any audio source.

• Chapter 6: Advanced iQ Controls discusses ad-

vanced features that are congured in the iQ con-

guration web pages.

• Chapter 7: Livewire Networking and iQ will tell

you how to connect your iQ to a network and reap the

benets of networked studio systems.

• Appendices provide additional technical specica-

tions and a complete set of block diagrams for your

reference.

Read on. Enjoy your iQ.

Stay up to date! We recommend joining the Axia Tech mailing list to ensure that you receive immediate updates regarding new software or documentation releases. You can do this by clicking the “Sign Up Here” link at the top of AxiaAudio.com/manuals/ & AxiaAudio.com/downloads/.

Getting Started • 2

Page 11

Chapter One:

Setup and Connections

Introduction

If you are reading this manual, you are probably the

proud owner of a new iQ console. You’ve read the Get-

ting Started section, are probably already passing audio,

and are hungry for more knowledge. Here we go!

The Basics

iQ was designed to get you on the air as quickly as

possible with the least amount of effort. It’s the perfect

standalone radio console (and it even networks, too - see

Chapter 7: Livewire Networking and iQ for details on

how to do that).

This chapter covers connecting iQ to your other stu-

dio gear, such as microphones, CD players and other au-

dio playback devices. The audio outputs of the QOR.32

connect to control room monitors, preview (cue) speak-

er, headphones ampliers and audio recording devices.

These external audio devices may be analog or AES de-

vices.

The GPIO (General Purpose Input Output) ports pro-

vide logic control interfaces to devices such as air lights,

recorders and CD players.

The 100 Mbps Ethernet ports may be used to con-

nect PCs running Axia’s IP-Audio driver, to expand your

system by adding other Livewire devices such as Axia

Audio Nodes, or equipment from Axia Partners (see

AxiaAudio.com/partners/ for the latest list of companies

whose equipment connects directly to Axia networks).

1000 Mbps (Gigabit) Ethernet ports are used to con-

nect to other QOR.32 units or an Ethernet core switch

— another topic covered in Chapter 7.

6-pin Molex connectors are used to connect your iQ

Main, iQ Frames (max of 3 including Main) and CAN-

Bus accessory panels. A single cable from each Frame

will be used to connect it to the QOR.32. Each iQ Frame

must have a dedicated Console port. Accessory modules

can be daisy-chained from the CANBus Accessory port.

The D-sub combo connector connects ONLY to your

optional QOR Backup power supply. The IEC receptacle

is for your A.C. mains power connection.

Assigning an IP Address

Before you can congure your iQ hardware, you’ll

need to assign it an IP address. Press-and-hold the Meter

and Clock keys for three seconds. The Studio display

now shows the options and the Studio Monitor control is

used to navigate, select IP Address options and change

parameter values. Consult your network administrator if

you are unsure about what address to use.

Each iQ system requires a single, xed IP address.

The iQ Frames are controllers for the QOR.32 engine

and they share the same IP addresses. If the iQ is stand-

alone, the default IP address will probably be ne. See

Chapter 7 for more details when multiple iQ’s are used

or when your iQ is a part of a larger network.

Notes on Physical Installation

The QOR.32 is fan-free, so it can be located in any

studio without fear of unwanted noise. Those vents and

heat sinks serve a very important purpose! Be sure to

mount the QOR in an equipment rack with free air ow.

We recommend using a ventilated 1RU rack spacer

above and below the QOR.32 to ensure adequate ven-

tilation.

To install the iQ Frames in your studio, all you need

is a desk — no console cutout required. You may also

rack-mount your iQ Main Frame using the included

rack-mount hardware. This same hardware serves dou-

ble duty to join your iQ Frames together if you prefer

one, continuous console rather than individual units.

To join iQ console sections:

Remove the adjacent side bezels of the iQ Frames

that you wish to join and attach both rack-mount anges

to one of the frames as illustrated on the next page.

1: Setup and Connections • 3

Page 12

Flip the iQ frames over and use the rack-mount

screws to securely attach the rack-mount anges to the

underside of the iQ Frames.

QOR.32: Front Panel

The indicator panel of the QOR.32, shown on the

following page, is very simple. There are no controls

for you to push or turn. Conguration and setup is per-

formed from the console itself or through the iQ web

browser interface.

Front Panel Indicators

Even though there are no knobs or dials, the front

panel has some very useful indicators that tell you about

the health and status of your QOR.32. In all cases, solid

GREEN indicates normal operating conditions.

CHECK

This is a general health indicator for the QOR.32. If

this indicator is RED, immediately check the web pages

for abnormal operating conditions such as excessive

CPU temperature. Do not ignore this indicator. Note that

it is normal for this indicator to ash during boot-up.

1: Setup and Connections • 4

The physical arrangement of the frames is complete-

ly arbitrary. The channel assignments are determined by

the iQ Main port to which you connect each iQ frame.

LIVEWIRE

When lit, indicates that Livewire channels are being

taken from the network. If no network sources are being

received, this indicator is not illuminated.

SYNC

If your iQ is part of a larger network, a solid GREEN

indicates the QOR.32 is synchronized as a slave to the

Livewire network and that its internal clock is locked.

Flashing GREEN indicates that sync packets are being

received, but that iQ is not yet locked. It is normal for the

SYNC indicator to ash for several seconds at startup. If

it does not “lock” with a solid, non-ashing LED, this

may indicate an incorrectly congured network switch.

Check your Ethernet switch conguration or call Axia

24/7 Support for assistance.

MASTER

Solid GREEN indicates the QOR.32 is synchronized

as a Master clock to the Livewire network. This indi-

cator will always be green for a standalone console. If

you have any other Livewire devices, they should be re-

porting Sync or Slave. There should be only one Master

clock device in a Livewire network at any given time.

Page 13

Figure 1-1: QOR.32 - Front Panel

Figure 1-1 shows both Master and Sync illuminated for

illustration purposes only.

Note: The MASTER and SYNC indicators are not normally ON at the same time since the QOR.32 will be either a Master or Slave. This principle applies to all Axia Livewire devices. Any Livewire network will have only a single Master.

NET 1 and NET 2

These indicators provide the status of the two 1000

Mbsec (Gigabit) NICs in the QOR.32. Note that the unit

can be used with either or both ports connected to prop-

erly congured Ethernet switches or other QOR.32 units.

When the Gig1 or Gig2 ports have active connec-

tions, the NET1 or NET2 lamps (respectively) will illu-

minate. If a network cable is connected to a Gig port and

the corresponding NET lamp is unlit, a problem with the

network connection is indicated.

When a disconnected Ethernet link has been re-estab-

lished, the NET LED will blink with a 50% duty cycle

for about 5 seconds as the network activity is resumed.

Please consult Axia’s Ethernet switch conguration

guides for details when using Core switches in a larger

network. Ethernet Switch guides may be found on our

web site at AxiaAudio.com/manuals/.

PSU

There are two PSU indicators providing assurance

that the QOR.32 power supply rails are normal. Solid

GREEN indicates normal power supply status.

The PSU2 indicator is active only when am QOR

Backup is present and when the iQ console is congured

to incorporate the QOR Backup.

This indicator will illuminate upon detection of an

external Ethernet core switch connected to the QOR.

QOR.32: Rear Panel

Power

• AC Mains: There is one standard IEC receptacle for

your mains power for voltages in the range from 100

to 240 VAC at either 50 or 60 Hz.

• PSU2 (Backup): This is a D-sub combo connector

for use only with the QOR Backup 48 VDC power

supply. Connect your optional backup power supply

with the provided cable.

1: Setup and Connections • 5

Page 14

1: Setup and Connections • 6

Figure 1-2: QOR.32 - Rear Panel Conne ctions

Audio Connections

The QOR.32’s rear panel contains all of the connec-

tors used for audio I/O, Ethernet, GPIO, power supply

and the connections to your iQ frames. Note that we use

RJ-45 connectors for three purposes:

• Analog audio inputs and outputs

• AES audio inputs and outputs

• Ethernet (some with PoE - Power over Ethernet)

It is important to follow the proper conventions for

wiring these connectors and ensure that the connector

functions are not confused as damage may result if you

plug a network cable into an audio input.

Analog and AES Audio

The connector pin functions shown in Figure 1-3 are

the same for both the AES and Analog inputs and out-

puts.

The nominal audio level for analog line inputs and

outputs is +4 dBm. This audio level will provide you

with 20 dB of headroom.

Note: The well-labelled RJ-45 connectors on the QOR.32 rear panel are used for different

Figure 1-3: RJ-45 Audio Connector Pinouts

functions. Be sure to use them only for their intended purpose as described in this section.

Microphone Inputs

There are four XLR-F connectors on the rear panel

for connection of microphone inputs. These connectors

use the standard wiring convention for 3-pin XLR audio

connectors. These connectors may have 48-volt Phan-

tom power enabled via the QOR.32’s web page congu-

ration. Please take appropriate precautions if you con-

nect anything other than a microphone to these inputs

when Phantom power is enabled.

Page 15

GPIO Connections

The QOR.32 includes eight GPIO ports, with pinouts

in the same conguration as the GPIO ports on other

Axia products. Please refer to Chapter 5: Conguring

GPIO for the functions of these ports and wiring dia-

grams for their DB-15 connectors.

Figure 1-4: GPIO Connector Pin-Outs

tions to other QOR.32 units, or, in larger networks,

for connections to an Ethernet Core switch. Note

that these two ports are used as trunks and are not

intended for connection to Livewire source devices

such as Audio Nodes.

iQ Frame and CANBus Connections

iQ frames need only a single data / power connection

to operate. The QOR.32 includes four power/CANBus

connections for use in conjunction with your iQ control

surface. The accessory CANBus port is an additional

port that is available for future use.

Important: Like any electronic device, iQ can be affected by static electricity. Use of a personal grounding device is strongly recommended while handling the unit during installation.

In most cases, a GPIO port will be associated with

a single source such as a CD player, studio microphone,

profanity delay, et cetera.

Optional PathnderPC software may also be used to

monitor and control GPIO for advanced applications.

The interconnections to GPIO ports will vary de-

pending on the type external equipment being used and

whether or not voltage is supplied by an external device.

Chapter 5: Conguring GPIO provides these details.

Ethernet Connections

The QOR.32 has three types of Ethernet connections

and it is important to use them as intended since the in-

ternal Ethernet switch is congured in a specic manner.

The types of connectors available are:

• 100 Mbps PoE (Power-over-Ethernet) ports designed

to be used with future Livewire accessories that will

obtain their power directly from their Ethernet con-

nections. These ports may also be safely used with

standard, non-PoE devices.

• 100 Mbps Ethernet standard ports are used to con-

nect PCs or other Livewire devices to your Livewire

network. These devices might include additional

Livewire nodes or PCs running the Axia IP-Audio

driver.

• Two 1000 Mbps (Gigabit) ports are used for connec-

Your iQ surface must be connected to a grounded

metal permanent wiring system or other equipment

grounding conductor using the grounding lug located on

the console chassis. For ground sources, we recommend,

in order of preference:

• “Station Ground,” the heavy copper strap found in the

walls and oors of many radio studios.

• 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 the iQ mixer.

Important: 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.

Console 1, 2, 3

There are three 6-pin Molex connector that are used

to provide DC power (48 vdc) plus CANBus data to your

iQ control surfaces.

1: Setup and Connections • 7

Page 16

Figure 1-5: Detail of data/communication cable ends.

iQ frames must each be connected to a CONSOLE

port on the QOR.32 using only the supplied 6-conduc-

tor cables. Each frame has a discrete connection to the

QOR.32 A maximum of three fader frames (one Main

plus two others of any type) can be connected to a

QOR.32.

Note: Does it matter what Core port I connect a console frame to? Fader channel numbers are dependent on the QOR.32 console por t to which you connect the fader frames. The Console 1 por t will assign the lowest channel numbers. Console 2 and Console 3 will assign higher fader channel numbers. This scheme permits you to arrange your fader frames in any desired

conguration and automatically assign channel

numbers to your faders.

connector used on the Axia Accessory panels. This adap-

tor will simplify wiring of your CANBus accessories.

What is CANBus? Controller Area Network (CAN) is a multicast shared serial bus standard, originally developed in the 1980s by Rober t 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).

IP Address Conguration

To access System Settings from the iQ console,

press-and-hold the Meter and Clock key for three sec-

onds. The Studio display now shows the options and the

Studio Monitor control is used to navigate, select options

and change parameter values. Options available are:

• IP Address

• Subnet Mask

• Gateway

• Save and Reboot

1: Setup and Connections • 8

One end of each iQ power/communication cable is

tted with a strain relief. Connect this end to the Molex

connector on the back of the QOR.32. Connect the other

smaller connector to the Molex socket on each iQ Frame.

Each Frame must have a dedicated power/communica-

tion cable.

Since the CANBus connection cables include power

as well as data, there is a length restriction of approxi-

mately 50 feet. If you require longer cables than those

supplied with your iQ Frames, please contact your Axia

representative.

Accessory

The fourth 6-pin Molex connector on the rear panel

of the QOR.32 is labelled ACCESSORY. This is the

CANBus port that can be used to distribute data and 48

VDC to CANBus switch modules and accessory panels.

Several accessory modules can be connected in a daisy-

chain conguration with a termination on the last ac-

cessory panel. An Axia CANBus adaptor is available to

convert the Molex CANBus connector to the RJ-45 type

To exit, select EXIT and press the Studio Monitor

control.

Note: After making changes to any QOR.32 IP address settings, you must reboot the unit for these changes to take effect.

“Gateway” settings on a QOR.32 are not usually re-

quired; however, a valid gateway enables access to the

iQ conguration remotely, from outside your network. A

gateway also facilitates the use of an external NTP serv-

er. Enter the IP address of your master router (the one

with external network connections) whenever you’re

given the option to enter a gateway address.

Note: If your system employs an Ethernet core switch, the Ethernet core switch must have an IP address that is lower than any of your iQ units or Ethernet edge switches. This function of the IGMP standard ensures that the multicast querier is handled by the core switch if one exists.

The querier will be passed off transparently to

another switch should the core switch fail or be disconnected.

Page 17

Console Conguration

Now that your iQ has an IP address and you have

a fader frame or two connected, you will need to tell

the QOR.32 what is plugged to its CANBus slots so that

fader numbers can be assigned. You will need to provide

your computer with a static IP address that is in the same

network as the iQ. For example, if you gave the iQ an

IP address of 192.168.2.40, a good IP address for your

computer could be 192.168.2.45.

Once your computer is congured, enter your iQ’s IP

address into your PC’s browser, and when the iQ Con-

trol Center appears, choose Console Cong from the

iQ main menu. When you connect to the iQ, you will be

prompted for a user name and password. By default, the

user name is “user” and there is no password.

In the example shown in Figure 1-6, we have a Main

Frame connected to Console Port 1 and a Phone Frame

connected to Console Port 3. In this conguration, the

faders on the Main Frame will be assigned channels 1

through 8 and the faders on the Phone Frame will be as-

signed channels 9 through 14.

What’s Next?

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

you’re ready, continue to Chapter 2: iQ Inputs and Out-

puts to walk through the software conguration of the

Inputs and Outputs on your iQ.

Figure 1-6: QOR Control Center

1: Setup and Connections • 9

Page 18

Cng t pad us,

t m  ldng  —

t’  e. (N uc.)

1: Setup and Connections • 10

Page 19

Chapter Two:

these physical connectors. Now, let’s look at the software

conguration of these inputs.

Inputs and Outputs

In this chapter we’ll discuss how to congure the in-

puts and outputs for your iQ system by using your com-

puter’s web browser. While browsing this chapter you

may nd useful the iQ block diagrams in Appendix B.

iQ has a built-in Ethernet switch and Web server for

options conguration. To access it, all you need is a com-

puter connected to its Ethernet switch. Since Livewire IP

addresses are managed without DHCP, you will need to

ensure that your PC has a manually-assigned IP address

in the same subnet as the QOR.32. Contact your network

administrator if you are not sure how to set up a xed IP

address for your PC (but if you’re reading this, we think

you’ve probably got it covered yourself).

Note: Axia web interfaces have been tested with Microsoft er, but also work with other browsers.

Adobe time monitoring features but is not essential for

setup and conguration. If installed, your pop-

up blocker must be disabled. You may download Adobe Flash Player at http://get.adobe.com/

a s h pl a y e r /.

Once your PC is properly connected to the Axia

Livewire network, direct your web browser to the IP ad-

dress of your iQ. When you connect to the iQ, you will

be prompted for a user name and password. By default,

the user name is “user” and there is no password.

First, we’ll walk through the Audio IO Manager to

congure your Inputs and Outputs. Then, we will illus-

trate how Source Proles and Show Proles are used

with your iQ system.

(TM)

Internet Explorer, version 6 or lat-

(TM)

Flash Player is used for some real-

Inputs

Your QOR.32 has several connectors on the rear

panel that accommodate microphones, analog stereo

line and AES inputs. Chapter 1 discussed the details of

Figure 2-1: Audio IO Manager - Inputs

Figure 2-1 shows the web page conguration for In-

puts for your QOR.32. There are three types of inputs.

Microphone Inputs

The four XLR-type connectors on the rear panel are

intended to be used for mono microphone signals. Each

of those inputs has the following parameters:

• Phantom Power (48 vdc) is individually enabled

for each of the four microphone inputs by selecting

this check box.

• PreAmp Gain is adjustable to a maximum of 65 dB.

This setting will adjust the microphone level prior to

all other signal processing.

• Input Gain is adjustable from -64 to +24 dB. If you

are conservative with your PreAmp gain, you may

wish to apply a few dB of additional gain at this stage.

Analog Line Inputs

These sixteen inputs are for line-level stereo signals

connected to the analog line RJ-45 connectors on the

rear panel. They have only one adjustment.

2: Inputs and Outputs • 11

Page 20

• Input gain allows you to specify a gain from -64 to

+24 dB.

AES/EBU Inputs

There are two AES/EBU digital inputs on RJ-45 con-

nectors. These digital inputs are equipped with sample

rate converters so a specic incoming sample rate or

AES clock is not required.

• Input gain allows you to specify a gain from -127.5

to 0 dB.

Be sure to click Apply after making changes in each

input section.

Now that the inputs have been tweaked for proper

system audio levels, we can manage that audio and auto-

matically associate logic with the different sources you

have connected to your iQ. We use a concept that we call

Proles to do this.

What’s a Proﬁle?

A Prole is a group of parameters that are stored in

memory for instant recall. The use of Proles makes

the operation of your iQ quick and intuitive. In the iQ

console’s design, there are two types of proles: Source

Proles and Show Proles. Show Proles (discussed in

detail in Chapter 3) contain all of the “snapshot” settings

that would be associated with a console scene or preset.

This terminology is commonly used in the sound rein-

forcement or recording studio industries.

Show Proles

Our Show Proles keep track of monitor bus set-

tings, fader channel assignments, jock preferences, lock-

outs and many other parameters.

Source Proles

One of the most repetitive and tedious parts of studio

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

Consider the wiring of analog line selector modules: you

needed 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-

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

Mix-minus and IFB generation has also been a prob-

lem in the past. Too often it’s a complicated process that

requires air talent to correctly determine source and bus

assignments at a moment’s notice. How many times has

unwanted audio been aired thanks to this error-prone

procedure?

Your iQ eliminates these headaches by automatical-

ly merging 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 the audio. This

association is accomplished through the use of Source

Proles.

A Source Prole contains all of the parameters that

are unique to a specic audio input (source) as it applies

to a specic iQ console. Source Proles can assign mod-

iers to an audio input. Characteristics like Pan, Trim

and even Mix-Minus source selections can be set in the

Source Prole and automatically loaded whenever that

source is assigned to an iQ fader.

The result of all this is that iQ is always presented

with complete, consistent information about how you

want a given audio input (source) to be handled. Your

board operator will never have to worry about Mix-Mi-

nus again!

Source Proles allow you to control access and con-

gurations of the individual sources as they are used on

each iQ console in your facility. Source Prole param-

eters may include name, source type, backfeed prefer-

ences, associated logic and much more.

2: Inputs and Outputs • 12

Source Conguration

The iQ web browser interface is used to congure

Sources. To get started:

• Open the web browser on your computer and point it

to the IP address you previously assigned to your iQ.

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

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

Page 21

Figure 2-2: Source Prole s

password eld blank.

• Select Sources to proceed to the source setup page.

You will now see the Sources section as shown in

Figure 2-2. In this example, many of the sources have

already been congured.

Note that iQ has three different classes of audio

sources. Most originate with the rear panel input connec-

tors and are used locally in the iQ; some audio sources

may be obtained from other devices in your Livewire

network, and some audio sources (PGM1, PGM2, etc)

are generated internally.

With that in mind, let’s discuss conguring your local

sources and making them available for fader assignment.

Creating a New Source

Your rst choice denes what type of source you’re

setting up, which is important since GPIO, mix-minus

and other console behaviors are decided based on your

choice. Your choices:

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

mic for iQ TALK TO functions. Its logic mutes the

CR monitors and Preview when ON.

• Producer is used for in-studio Producer’s mic posi-

tions. It has associated GPIO logic which can operate

TALK TO functions from a remote producer’s panel.

It also mutes CR monitors and Preview when ON.

• CR Guest is used for any other guest mic in the con-

trol room. Its associated logic automatically mutes

the CR monitors and Preview when ON.

• Studio Guest is used for any mic located in a sepa-

rate studio. Its logic mutes the Studio monitors when

ON.

•

External Mic is used for any mic located outside of

a CR or studio. It functions like a Guest microphone

but does not include any muting logic.

•

Line is used for any line input audio source, analog

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

machine start/stop pulses if desired.

•

Phone denes this source as a hybrid or broadcast

phone system input. A summed mono mix-minus is

automatically provided.

• Codec marks this source as a codec. A dual mono

mix-minus is provided; one PA feed (right) + one tal-

ent feed with talkback (left).

•

Computer Player denes this source as originating

from a PC. Associated GPIO logic can be used to

send start/stop signals to a playout system.

• Studio Feed denes a source that receives a back-

feed, and generates an IFB backfeed in return. This

is intended for an external studio source which you

wish to generate a talkback channel for.

Once you have selected the source type, click the

Create button to proceed to the Source Prole options.

Figure 2-3 shows the setup options screen for a

typical Microphone source. Figure 2-4 shows a Codec

source which has a few different settings, and Figure 2-5

shows a Line source. The following sections describe

these Source congurations in detail.

Source Type

This is a display-only parameter and shows the

source type you selected in the previous step.

About Mics and Headphone Feeds: iQ provides you with several headphone options, all selectable from iQ monitor control section. The 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.

There are two headphone feeds from the studio

monitor section, one for talent, one for guests.

The Studio headphone output sends audio to all

studio talent positions. Talent positions include

2: Inputs and Outputs • 13

Page 22

a talkback channel that the board-op can use to communicate using the Talk To Studio function.

The Guest Headphone does not include talkback.

Source Name

Each Source needs a name for display on the con-

sole’s OLED channel displays. Names can be up to 10

characters long and may include spaces or underscore

characters.

Source Input

This setting associates the source with an au-

dio input. It may be a local input in which case you

would choose a local Mic, Analog or AES from the

drop-down menu. This source may also be a Livewire

source which means that it is a network source origi-

nating from some other Livewire device. When you

choose Livewire as your Source Input, you will spec-

ify a network source. See Chapter 7: Livewire Net-

working and iQ for details.

Primary Source

This pop-up window is used to select the network

Livewire source ONLY when Livewire has been se-

lected as your Source Input. See Chapter 7: Livewire

Networking and iQ for more on this.

Signal Mode (Non-Microphone Sources)

Determines whether source will be treated as a mono or

stereo source.

• Stereo feeds incoming L/R signal to left and right

channels of assigned bus(es).

• Left feeds incoming left channel to both channels of

assigned bus(es).

• Right feeds incoming right channel to both channels

of assigned bus(es).

• Sum creates L+R mono mix of incoming stereo

source and feeds it to both channels of assigned

bus(es).

Signal Phase (Non-Microphone Sources)

Determines whether source will maintain normal or

inverted phase relation.

Figure 2-3: Operator Microphone Source

PGM 4 that is post-fader but pre ON/OFF. The mix of

the Record bus is controlled by the Record Mode set-

tings of each source. The options are:

• Stereo: delivers this source in stereo to the Record

bus (default).

• Sum to Left: sums L+R of this source and delivers

the sum to the Left channel of the Record bus.

• Sum to Righ t: sums L+R of this source and delivers

the sum to the Right channel of the Record bus.

The last two options give you the ability to create a

split Record bus which is commonly used for phone re-

corders. The Operator’s mic can be recorded on one side

of a stereo channel while all other sources are recorded

on the other side.

Fader Trim Gain

This setting allows you to specify an amount of gain

from -25 to +25 dB. Fader Trim Gain is applied in the

signal path just before the fader.

Record Mode

2: Inputs and Outputs • 14

The Record Bus of your iQ is a special variation of

Equalizer

Allows you to enable EQ function for the source as

Page 23

well as predene the three-band EQ settings for the

source.

Panorama Position

Lets you preset pan settings for this input. Pan is

variable in 49 steps, center being 0, far left -24 and far

right +24. This setting can be adjusted on the y by

the operator if permitted by show prole settings.

Source Availability

These check boxes determine 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 fad-

er, so you’d check the boxes for all faders.

You might wish to prevent some sources – espe-

cially off-air signals – from ever being assigned to a

fader, so you would un-check the boxes for all faders.

Figure 2-4: Codec Source

The two nal check boxes,

External and V-Mixer,

determine whether the board-op will be able to assign

the source directly to the CR and Studio monitor and

headphone buses, or to iQ’s Virtual Mixer.

To prevent a source from appearing on these inputs’

selection lists, un-check the relevant box. Generally

speaking, you’d want to restrict sources such as comput-

ers and CD players to fader assignments while sources

such as off-air receivers would be marked to appear only

on the External monitor selection list.

Fader Mode

Denes fader start actions and start logic:

• Normal conforms to the US method of requiring tal-

ent to manually turn the channel on and off.

• Fader Start follows the common European stan-

dard of activating the channel and associated ma-

chine logic when the fader is raised from - ∞.

• Fader Start with Arm works just like the Normal

setting when the fader is not set to minimum position.

When the fader is set to the minimum position, it can

be in an Armed state. This armed state is entered by

pressing the ON Button when the fader is down. The

armed state means that the channel will go to the ON

state when the fader is moved up. When in Arm state,

the channel OFF lamp will be illuminated. The chan-

nel ON lamp will ash in “wink” mode - a long on-

time and short off-time. For all fader modes, pressing

the OFF button at any time will place the channel in

the OFF state

Preview Mode

Permits you to choose whether Preview acts in CUE

(pre-fader) or SOLO (post-fader) mode.

Preview Switching

There are two check boxes in this area. None, either

or both may be checked. The options are:

• Channel ON turns Preview OFF

• Preview ON turns Channel OFF

Auto-Start Timer

When this box is checked, the count-up timer will

start when the channel is turned ON.

2: Inputs and Outputs • 15

Page 24

2: Inputs and Outputs • 16

Figure 2-5: Line Source

Logic Port

Allows you disable GPIO machine logic to this au-

dio source device or enable it in two modes. Exclusive

mode permits GPIO control associated with only a sin-

gle fader. Shared mode allows more than one user to

send ON/OFF/START signals to the source via GPIO.

A check box can optionally enable GPIO Ready

mode. This allows devices such as CD players or tape

machines to signal their READY state to the operator

through the OFF button LED. If a device is cueing, its

OFF lamp will not be lit. Linking the device’s OFF lamp

to the Ready command means that a machine must be

cued and ready before the OFF lamp illuminates. If en-

abled, the OFF lamp illuminates when the fader is OFF

and the Ready command is active on the GPIO. If dis-

abled, the OFF lamp illuminates normally whenever the

fader is turned OFF.

Feed to Source (Codec, Phone, Studio Feed only)

If this source is a Phone or Codec type and there is a

backfeed associated with it, this option determines what

audio content is sent back to the source from the console.

• Disabled - No backfeed.

• 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. Remember, the Phone bus is actually a

special variant of Program 4. The Phone bus is pre-

fader and pre-on/off to allow speaker-phone style op-

eration thru the Operator’s mic.

•

Program 1 always feeds the Program 1 bus, minus

the source, regardless of the on/off state of the chan-

nel.

•

Program 2 feeds the Program 2 bus, minus the

source.

Program 3 feeds the Program 3 bus, minus the

•

source.

• Program 4 feeds the Program 4 bus, minus the

source.

• Phone feeds the Phone bus, minus the source. Phone

is a pre-fader and pre-on/off variation of Program 4

• Talk Only is a “silent backfeed” that operates when

the Ta lk To function is engaged, creating an IFB to

the source.

Feed to Source Dim Gain (Codec, Phone, and Studio Feed only)

Normally, Talkback is sent over dimmed backfeed

audio. If you want a hard interruption (Talkback inter-

rupts Program audio), un-check the Enable check box,

which mutes the audio. But maybe your jocks would like

to have just their program audio dimmed, with Talkback

heard 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.

About the PHONE, RECORD and PROGRAM 4 buses: The iQ PGM-4 mix bus is a special 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 pre-

Page 25

fader and pre-On/Off and backfeeds this bus to callers (minus themselves, of course) when the channel is OFF and AUTO is selected as the Feed To Source Mode.

Live Controls

This group of radio buttons congures permits “live”

functions for the Options control on each of the con-

sole’s fader strips. Available options will vary depend-

ing on the source type. One setting may be dened as

the Primary or “live” control, which means that the

Options control will vary that setting as soon as you ad-

just the knob. For example, if PANORAMA has been

dened as the Primary function, simply rotating the Op-

tions control will pan the source.

The other functions may be enabled or disabled as

desired. Those that are Enabled may be chosen by the

operator “on-the-y” by depressing the Options control.

When the control is pressed, the OLED display will list

the options that you’ve checked as Enabled in this sec-

tion of the conguration. Pressing the Options control

selects the highlighted option and turning the Options

control will adjust the parameter for that option. De-

pending on the enabled options, the operator will be able

to adjust Source, Gain, Mode, Pan and Backfeed.

Remember to save your work! You may also

“Save as Copy” if you intend to set up another, sim

ilar source — you can save a few clicks this way.

Congratulations — you’ve created a Source Proles

You can now bring up your new source on an iQ fader.

iQ Outputs

Output Types

Now that we have congured sources, let’s look at

the outputs of the iQ. Since iQ is a network device as

well as a mixing console, you might expect that it has

two kinds of outputs, Local and Livewire (network).

• Local Outputs - These outputs correspond to the

audio connectors on the rear panel of the QOR.32.

These are used to connect Control Room monitors,

Preview speakers, headphone ampliers, record de-

vices and, of course, your air chain equipment and

processing.

• Livewire Outputs - This is a group of four speci-

ed audio streams that can be delivered from your

iQ to other devices in your Livewire network. See

Chapter 7: Livewire Networking and iQ for more

details on how this works.

Local Outputs

Your QOR.32 has eight stereo analog line out-

puts and two AES outputs. These may be cong-

ured to deliver:

» Local sources (4 microphones, 16 analog, 2

AES/EBU)

» Backfeeds to any of the above sources that are

congured as Phone or Codec.

»Any of the Program or Monitor feeds that are

created by the QOR.32 (CR Monitor, Studio

Monitor CR Headphones, VMIX, VMODE, etc)

• Output - Using the drop-down menu, select

the desired source that you want to deliver to

your iQ local output.

• Output Gain - The output signal level may be

attenuated to provide an optimal level for out-

board devices. The gain range is from -127.5

(off) to 0.0 dB (unity gain).

Figure 2-6: Assigning an Output from the list box

2: Inputs and Outputs • 17

Page 26

2: Inputs and Outputs • 18

CAUTION - Once you have made a selection and applied it, audio is immediately delivered to the QOR output. Be sure to turn down all

amplier level controls to avoid damaging your

precious equipment — especially your ears.

V-Mixer and V-Mode

The iQ V-Mixer is an “auxiliary” virtual mix-

er that can be used to mix ve stereo sources and,

from this mix, create another new source that may

be used like any regular source.

V-Mode is a signal converter that allows you to

manipulate some mono-mode sources. V-Mode has

one input and one output, thus creating one additional

source.

V-Mixer and V-Mode outputs are assigned in the iQ

Outputs section and delivered to your studio or your

Livewire network. Once V-Mixer and V-Mode signals

are a part of the network, they can be loaded on any lo-

cal or networked console fader, or routed to any other

network destination.

V-Mixer Controls

The V-Mixer works independently of the iQ console.

Static control of V-Mixer is available through the iQ web

pages.

Even though the “V” in V-Mixer stands for “virtual”,

you can in fact perform a certain amount of “hands-on”

mixing. Although you don’t have physical control of the

virtual faders or virtual ON/OFF switches, adjustments

made to the V-Mixer take effect as soon as you apply

them. While you may not want to operate an entire show

this way, it’s valuable to know that V-Mixer changes

made “on the y” will take effect immediately.

Figure 2-7 shows the V-Mixer and V-Mode setup

found in the iQ web pages. At the top of that page, you

can see the V-Mixer sub-mixer with its ve stereo inputs.

Below that you will see the V-Mode section. Let’s look

at the controls and see what they do.

Figure 2-7: V-Mixer and V-Mode

At the top is the V-Mix Master eld. This gives the

option to assign a Livewire GPIO channel for control of

the VMixer. This channel number also gets assigned to

a GPIO port, allowing you to have ON/OFF control of

VMix channels through GPIO. The last option applies a

gain stage to the nal mix the ve inputs.

Controls for the V-mixer’s input channels include:

• Source: From the drop-down menu, you may select

any source previously dened with a Source Prole.

• On: Simply determines the ON/OFF status of the in-

dividual V-Mixer channel.

• Gain: This setting allows you to specify a gain set-

ting for the channel that will control its mix level.

The range is from -80 dB (effectively off) to +10dB.

Note that you may also specify a gain setting for the

V-Mix Master, which is the output of the V-Mixer.

At the bottom of the V-Mix section is an Apply but-

ton. Any changes you make will be saved when this but-

ton is pressed. Be sure to save your changes.

What does V-Mode do?

All of the program busses of the iQ are stereo. Some-

times, though, special circumstances require only one

channel of an audio source, or a mono sum. V-Mode lets

you accomplish this easily.

V-Mode Controls

V-Mode allows you to perform special manipulations

on a stream. The controls are as follows:

Page 27

• Input Selector contains a drop down menu that al-

lows you to select from a range of sources for each

V-Mode input. You may choose from local Core

sources including PGM-1/2/3/4, and VMIX.

• Audio Mode is the magic box that transforms your

stereo stream into something else. You may choose

from any of the following options:

» Pass Stereo: Passes the Left and Right chan-

nels as is, without modication.

» Mono sum to L: Creates mono sum and directs

it to the Left channel only.

» Mono sum to R: Creates mono sum and directs

it to the Right channel only.

» Combine from left and right: Creates a dual

mono stream by summing the Left and Right

channels.

The output of V-Mix and V-Mode channels can be

assigned to outputs like any normal audio source.

down selector. Click on the drop-down for output #3

and choose to Analog 5 as shown in Figure 2-6. By

simply choosing to Analog 5, iQ knows to deliver a

backfeed that is a mix-minus of Analog Input 5. (The

output chosen to deliver this backfeed is arbitrary -

we chose Output 5 just for this example.)

4. Click Apply.

5. Now point your browser to the iQ GPIO Con-

guration screen (Figure 2-8). You may also use a

GPIO Node in lieu of iQ’s built-in GPIO ports; just

point your browser to that Node’s IP address instead.

6. The GPIO setup screen uses the same method

of assigning devices to ports as other Livewire de-

vices. Pick a port to map your Phone channel’s con-

tact closures to, using the list tool, and click Apply.

Figure 2-8 shows the GPIO section of an IQ. (Axia

Element console

also have eight GPIO ports.)

s and GPIO nodes are similar, and

Adding Backfeeds and GPIO

Since making a mix-minus and mapping

contact closures is often done at the same

time a new Source Prole is constructed,

let’s briey recap those procedures.

Let’s say you’ve connected a hybrid to

Analog Input 5 of your iQ. You’ve construct-

ed a Source Prole 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:

1. Make sure that, in your hybrid’s

Source Prole, the Source Type op-

tion is set to “Phone” and the Feed to

Source is set to “Auto (Program 1 /

Phone)”.

2. Use your Web browser to connect

to the iQ Outputs screen (Figure 2-6)

and set up the mix-minus for Output #5.

3. Just to the right of each Local

Output name box , you’ll see a drop-

Figure 2-8: GPIO Conguration

2: Inputs and Outputs • 19

Page 28

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

le for your phone hybrid, created a mix-minus, mapped

it to an audio output, and associated a GPIO port for con

tact closures associated with the source.

To conrm, choose the

iQ’s fader strips and load your new Phone source. Now

press the

status change appear in the display above the channel

to indicate that the operator’s mic is talking to this tele

phone hybrid through it’s backfeed channel.

the green indicators that have appeared on the port rep

resenting your hybrid; switch the iQ channel On and Off

and you’ll observe the tally change with the active pins.

Tal k key just below the fader; you’ll see the

Now look at the GPIO screen on your browser. Note

Options key on any of your

What's Next

When you’re ready, join us in Chapter 3: Console

Operation where we’ll show you how to use the various

controls on the iQ mixing surface.

2: Inputs and Outputs • 20

Page 29

Chapter Three:

Console Operation

With iQ, our goal is to provide you with the most ef-

cient human-machine interface possible for fast-paced,

complex programs where board operators must multi-

task without error. As such, iQ brings a whole new level

of control and sophistication to the broadcast studio,

while providing very familiar, intuitive operation.

Overview

iQ was designed to perform equally well in air or

production studios. The clean interface enhances speed

and accuracy without clutter or confusing controls.

In addition to the iQ Main frame, there is an 8-fader

expansion frame, a 6-fader frame with controls for use

with select Telos phone systems, and a 6-fader frame

with ten programmable “User” keys (two groups of ve

keys).

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

view of iQ capabilities. Then, we’ll give you detailed ex-

planations of the various controls and functions.

Show Proles

iQ can be completely re-congured, instantly, to suit

different types of shows. By recalling any of four previ-

ously stored Show Proles, talent can change board set-

tings from a phone and microphone intensive morning

show to a personality-based music show – or any other

kind – at the touch of a button.

Show Proles are easily toggled by pressing the Pro-

le key located at the top of Monitor section. Construc-

tion and administration of Show Proles is covered in

Chapter 4: Show Proles.

Sources, Channels and Faders

During the course of this chapter, we’ll refer of-

ten to sources and channels. These are not the same!

“Sources” are microphones, CD players, outputs from the

playout system, telephone hybrids, etc.

“Channel” would normally be used when referring to

iQ’s linear faders and associated on/off controls, OLED

displays, bus assignment keys, etc.

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

production. During initial conguration, the Source

Proles are programmed by the engineer for appropri-

ate logic and options (as outlined in previous chapters);

afterwards, whenever that source is assigned to a fader,

source logic follows.

Displays

Like a traditional console, iQ includes built-in meter

displays. The iQ’s OLED meters can be congured to

VU or PPM metering standards.

The iQ Main Frame has dedicated meter displays for

Program buses 1, 2 and 3, plus a multi-function meter.

This meter, used in switched mode, toggles between a

preset selection of metering options. The meter tally

tells you what bus the meter is metering.

In addition to the meter displays, iQ, has a time of

day clock and a count-up timer.

Fader settings are instantly recongured 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 may send “start”

and “stop” commands when the channel is turned on and

off.

Sources such as an off-air feed can also be assigned

directly to the monitors for auditioning without being as-

signed to a fader.

Mix-Minus

Mix-minus setup, especially for live broadcasts, has

always been one of the most confusing aspects of run-

3: Console Operation • 21

Page 30

ning a radio console. iQ makes mix-minus easy by auto-

mating it. The operator never has to worry about sending

a source back to itself and getti ng feedback— it just can’t

happen!

via the Internet and applied by the station engineer. Axia

Support recommends performing backups or making

printouts of Show Proles and other conguration data

before applying new software updates.

3: Console Operation • 22

Several xed and auto-switching mix-minus choices

are possible, and are congured for each source when

Source Proles are dened by the engineer (see Chap-

ter 2 for details). Once this setup is done, no further

tweaking is needed; the operator simply uses the source.

A fader’s status display tells operators when a particu-

lar source has a mix minus output, and even tells them

which audio mix is being backfed.

iQ will generate as many mix-minus outputs as there

are faders, each with its own automated mix minus feed.

If you have 16 faders, you can have 16 mix-minuses!

GPIO

Chapter 2 explained how sources can have associat-

ed GPIO (General Purpose Input/Output) control associ-

ated with them. External GPIO interfaces are connected

to iQ via the Livewire network (more details in Chapter

7) , so you can locate the actual machine connections ei-

ther physically close to source equipment or in a central

equipment room.

During installation, the engineer congures sources

to accept and provide logic commands by selecting vari-

ous options. For example, studio mics may be set up to

automatically mute the studio monitor speakers and il-

luminate an on-air warning light when turned on. The

same sources can be congured to accept GPIO logic

inputs from buttons, so that each studio guest can have

their own On, Off, Tal k, and Mute keys.

Line sources can be congured to receive start and

stop commands from the iQ as well. Start/stop messages

can also be passed, via Ethernet, to a computer-based

playout system.

Software

The iQ operating system uses a high-performance

embedded Linux kernel to help ensure bulletproof, 24/7

operation. Software updates can be obtained from Axia

iQ Main Frame - Callouts and Operation

This section provides a “bird’s-eye view” of the iQ,

with full descriptions of its controls and their functions.

Although an iQ console may have a xed number of

faders, you are not limited to that number of sources.

Just like iQ’s big brother, Element, you may assign any

source to any fader. Unlike Element, iQ’s metering is

built-in.

The iQ Main Frame is laid out in a conventional

manner with the monitor and ancillary controls located

on the right side of the frame. Let’s look at each of these

sections in detail.

1. Channel OFF Switch: You know what this

does.

2. Channel ON Switch: When the channel is in

fader-nor mal mode the ON key turns the channel on

and the OFF key turns it off. The channel On and

Off functions also provide logic (start and stop puls-

es, monitor muting, etc.) specic to the source type.

For example, 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 CR mi-

crophone sources are Previewed. If a fader is hosting

a microphone source, pressing the On key when the

fader is already on mutes the channel, providing a

“cough” function, until the On key is released.

3. SOFT Key: Each channel has a Soft Key. The

OLED display tells you what function the soft key

is currently controlling. The default action depends

upon the type of input assigned to that fader, which

is dened in the Source Prole. Current functions

of the key are Mute, Talkback and phone hold. This

key is also used to exit Channel Options edit mode.

Page 31

Figure 3-1: iQ Main - Callouts

4. PREVIEW Key: allows the operator to listen

to sources before they air. iQ’s Preview bus allows

auditioning in full stereo. Individual source proles

can change Preview to Solo (post-fader) operation.

The Preview key acts like a latching switch.

Momentarily pressing any channel’s Preview key

assigns that channel to the Preview bus; pressing it

again removes the channel from Preview. To enable

an operator to quickly listen to various sources, the

Preview function can be interlocked: pressing Pre-

view on any channel will remove any other channel

from Preview mode.

If you want to preview multiple channels, pressing

and holding any Preview key temporarily disables

the interlock; other sources can be added to the Pre-

view mix by pressing them. Conversely, channels

can be removed from a multiple Preview selection by

pressing and holding any lit Preview key and dese-

lecting the individual channels you wish to remove

from Preview.

A momentary press of any lit Preview key will re-

move all channels from Preview.

The interlock option for Preview can be disabled in

any Show Prole’s Monitor section so that users can

gang preview sources without the need to press and

hold Preview.

The audio from the Preview bus feeds any speakers

dedicated to Preview, and can also be routed to the

operator’s headphones and CR monitors if desired.

Preview speakers will be muted whenever and CR

microphone is ON, or is assigned to the Preview bus.

5. Channel Information Display: This OLED

display interacts with the Channel Options control

and the Soft key. It is context-sensitive and can dis-

play many different parameters relevant to each fader.

3: Console Operation • 23

Page 32

3: Console Operation • 24

Normally the display will show the name of the

source that is applied to the fader (“Zephyr”), and

the function assigned to the SOFT key (“TALK”).

When fader channel parameters are being edited, this

display shows gain and pan settings, mode, backfeed

selection and other parameters that will be depen-

dent on the type of source.

When viewing these menus,

the Options control is

pressed to select the func-

tion, and rotated to set the

value.

Just below the Source name

is a status line. It shows the

status of a channel. It is dis-

played in medium font. In

the previous example, it is

“[TALKBACK].” .

Figure 3-2: iQ Main - Callouts

Here is a list of the different status displays and their

meanings:

» [TALK TO CR] - means that this channel is talk-

ing to Control Room. Used on Guest Microphone

and Codec source types

» [OP T ALKING] - means that this fader is an op-

erator mic and it is currently in use for Talkback

rather than feeding to Program buses

» [MUTED] - means that this channel is muted

» [TALKBACK] - means that this channel is being

talked to, i.e., the talk bus is fed to the backfeed

stream for this fader.

» Src-label - If the source has an associated la-

bel, it will be shown. Source label is normally

used by playout systems to indicate song name

and/or important information. Available only for

Livewire sources.

» Listen Only - The source was loaded in listen-

only mode. No GPIO control is available for this

source’s originating device.

» Used EW - The source is

currently in use elsewhere and

is in listen only mode. As soon

as source is freed, it will be

automatically reloaded in Full

Control mode.

» Src Load Err - An error

occurred during source loading.

Re-load the source.

» No Backfeed - An error oc-

curred during backfeed alloca-

tion for the source. For example,

no resources are available to al-

locate backfeed stream.

» Src Waiting - means that

a new source is waiting to be

loaded. This state is accompa-

nied by a blinking OFF key.

Turn the channel OFF to load

the new source.

6. Fader: The fader controls

the volume of the input source.

There are two modes for the

fader: fader-start and fader-nor-

mal:

• 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 appropri-

ate logic commands to source equipment. Mov-

ing the fader up turns the channel on and sends

logic commands. 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 bottom of its travel. Pressing

Page 33

the Off key while moving the fader up suppresses

turning the channel On.

• In fader-normal mode, the on/off status and

start/stop commands follow the channel ON/

OFF switches independently of the fader position.

7. Program Bus Assignment Keys: Each chan-

nel is assigned to any of the three main output buses

by selecting any (or all) of these program bus keys.

Gen e ra l ly, PGM-1 is the main on-air bus and other

buses are used for produc-

tion or other programming

requirements. All program

outputs are post-fader and

post on-off function.

The fourth bus functions

as a regular output bus, but

any sources feeding PGM-

4 are also sent to a special

Record bus that can feed 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, allow-

ing jocks plenty of opera-

tional exibility.

» PGM-4 bus audio output

is post-fader, post-ON/

OF F.

» PGM-4 Record bus au-

dio output is post-fader, pre-

Figure 3-2: iQ Main - Callouts

ON/OF F.

» Phone bus audio is sent to callers pre-fader, pre-

ON/OF F.

8. Channel Options Control: This control

operates in conjunction with the OLED fader dis-

play. Pushing the rotary encoder selects OPTIONS

mode, displaying various choices on the OLED

beneath. Rotate to select the desired option, and

then push to “take.” Once an option has been se-

lected, you can rotate the control again to adjust

the value of that parameter (if any). Press the Soft

key to exit.

In the QOR.32’s Web setup, you can also assign a

default function to the rotary encoder. Doing so al-

lows adjustments to fader options, gain trim, input

gain trim, pan, or input selection to be made just by

rotating the knob.

9. PGM 1-2 Meter: Always displays the out-

put level of the IQ Program 1

bus.

10. PGM 3-4 Meter:

This is a dual function meter.

The left side of this meter al-

ways displays the output level

for the Program 3 bus. The

right side of this meter displays

the output level of a bus that

may be selected by the opera-

tor by using the Meter Select

key (14). Options for this meter

are: PGM 4 or Follow Monitor.

11. TALK to Backfeed: This

key allows the operator to in-

stantly talkback to any phone

or codec source(s) by press-

ing a single key. Pressing

the TALK to Backfeed key

routes the board operator’s

mic to all existing backfeeds.

i.e.: you can talk to a codec

or phone caller’s mix-minus

feed by simply pushing TALK to Backfeed.

12. Record: places the iQ in Record Mode. Moni-

toring (CR Headphones) will switch from the current

source to the Record Bus, The 3rd meter will display

the Record Bus levels. Control Room Monitors and

Preview speakers will be muted. Pressing a Record

second time releases Record Mode and restores iQ

to its previous state.

3: Console Operation • 25

Page 34

3: Console Operation • 26

13. Clock and Timer Display: This display in-

cludes both the Clock and the Timer. The Clock sec-

tions includes an NTP indicator that tells you when

the iQ synchronized to an external NTP clock refer-

ence. The Timer section displays the count-up timer

that may be controlled by fader-start or by the Timer

controls on the iQ.

14. Meter Key: If all four bus meters are not set

for constant display, this toggles the Soft (middle)

meter between Program

and Monitor metering.

15. Clock Key: Pressing

this key toggles between

AUTO and MANUAL

modes for the count-up

timer. AUTO allows it to

be reset and started by any

source starting that has

it’s timer start option en-

abled. MANUAL ignores

those starts and follows the

RUN/STOP/RESET keys

only. Note that even if you

are set to AUTO, the run/

stop/reset keys still work.

To set the clock, push and

hold the Clock key for 6

seconds to enter clock ad-

just mode. The Clock key

will illuminate indicating

Figure 3-4: iQ Main - Console Callouts

that clock setup is active.

Release the Clock key and

press RUN-STOP to set the clock display forward, and

press RESET to set it back. Press the Clock key again

to save the current time and exit clock adjust mode.

If NTP is active and enabled (via web page congura-

tion), the time cannot be adjusted manually.

16. Timer Controls: Pressing RESET zeroes the

count-up timer. Pressing the RU N/Sto p key manu-

ally starts or stops the count-up timer. The RUN/

Stop key illuminates while the timer

is running

17. Prole Key: This key allows you to select the

active iQ Show Prole from a group of four pre-con-

gured proles. The Studio OLED display tells you

which prole (A, B, C or D) is currently active. The

Studio Monitor knob is used to navigate this screen.

To exit this screen, press the Prole key. You can

also push and hold the prole key for 5 seconds to

reload the current prole.

18. STUDIO: “Stu-

dio” is dened here as an-

other room separate from the

Control Room, such as a talk

studio or news booth. Push-

ing this control selects the

Studio Monitor source; rotate

it to adjust the volume of the

Studio Monitor speakers. Note

that the Studio

monitors will

be muted when-

ever any Studio

Microphone is

turned ON.

19. STUDIO Monitor Dis-

play: This OLED display in-

dicates the volume and source

that is being delivered your

STUDIO monitors. This may

be changed with the STUDIO

control as described above.

20. TALK to STUDIO Key: This push-to-talk key

allows the operator to communicate with all Studio

guests simultaneously. The operator mic is routed

directly to Studio Head-

phone and Studio Moni-

tor outputs while this

key is pressed.

21. Control Room

Page 35

Monitor Display: This is a context sensitive

OLED display that indicates the volume and source

that is being delivered to your Con-

trol Room monitors, CR Head-

phones and Preview.

22. Control Room Monitor Select Keys: This

group of keys selects the source that is delivered to your

control room monitor speakers. The operator may se-

lect from PGM 1, PGM 2, PGM 3, PGM 4 or two pre-

designated external sources. The external sources are

typically used for off-air receivers and are specied

in the web page conguration.

External 1 and External 2 have another function, in

addition to their normal monitor-select action. If you

press and hold one of these keys for 2 seconds, you

will see that the Studio OLED display and Studio

Monitor knob may be used to assign a source on-the-

y to that specic External Input. Press Ext 1 or Ext

2 again to exit this Select mode.

23. PREVIEW Level Control: Adjusts the vol-

ume level of the Preview output connected to your

external powered PREVIEW speaker. Note that the

PREVIEW speaker will be muted whenever any CR

microphone is ON or when you are in Record mode.

24. PREVIEW in HEADPHONE Key: The H/P

PREV key controls whether audio from the Preview

bus will be fed to the board op’s headphones, and if

so, in what man ner. Pressi ng this key toggles through

the following options:

» Off: The operator will not hear Preview audio in

the headphone channel.

» ON (Stereo): audio from the Preview channel

overrides the Headphone Monitor selection

and is sent to both the left and right channels of

the operator’s headphones.

25. HEADPHONE Level Control: Rotate to adjust

the Headphone volume. Headphone source follows

CR Monitor selection.

26. MONITOR: Adjusts the level of your Con-

trol Room Monitors. This output will automatically

MUTE whenever any Control Room microphone is

ON or when Record Mode is active

System Settings

To acce ss System Settings from the iQ console, press

and hold the Meter and Clock keys for three seconds.

The Studio display shows the options and the Studio

Monitor control is used to navigate, select options and

change parameter values. Options available are:

» IP Address

» Subnet Mask

» Gateway

» Save and Reboot

To exit, select EXIT and press the Studio Monitor

control.

iQ 8-Fader Expansion Frame

Operation of the iQ 8-Fader frame is identical to that

of the faders on the iQ Main. As described in Chapter

2, fader number designations are determined by the

QOR.32 Console port to which the Frame is connected.

iQ 6-Fader+Telco Expansion Frame

The iQ 6-Fader+Telco frame includes faders plus

controls for a dual-hybrid telephone system. These con-

trols are specically designed to work with the Telos

iQ6 phone system, or with the Telos VX VoIP broadcast

phone system.

OLED Display: Call status (using exclusive Telos Status

Symbols icons) and other informa-

tion is presented on these context-

sensitive displays. Indications are:

» Line 1 is available

» Line 2 is on hold

» Line 3 is locked to Hybrid 1

with caller ID shown

» Line 4 is blocked

» Line 5 is selected and wait-

ing for digits to dial

» Line 6 is on-air on the fader to

the right of the button column.

3: Console Operation • 27

Page 36

Keypad: Used for placing outbound phone calls

Transfer: Used to create a “hook ash” in POTS analog

phone systems. Depending on the way you’ve ordered

your Telco service, this key may serve to activate fea-

tures such as transfer or 3-Way Calling. This button does

not function with ISDN phone lines.

Delay Dump: This control triggers your external pro-

fanity delay using Livewire GPIO logic. The details of

this feature are still under development.

Block All: Pressing this key once will “busy” all phone

lines (except those that are on-air or on hold), thus block-

ing incoming calls. Pressing the key a second time will

release call blocking.

3: Console Operation • 28

Figure 3-6: iQ 8-Fader Frame

A completely dark display indicates that no line is con-

nected to that port. A “pulsating” display indicates a

ringing line.

If you’re familiar with Telos phone systems, you’ll nd

iQ’s hybrid controls to be very familiar indeed!

VoIP in the broadcast studio: Voice over IP now dominates the telephone sector, so it’s only natural for broadcasters to want to put VoIP to

work achieving better delity and call-handling exibility in the radio studio. After all, tech-

nology that sounds this great shouldn’t be reserved just for the board room!

With broadcasters adopting IP-Audio as the “new norm” for studio infrastructure, it makes sense for the Telco to share the same IP-based studio systems used for studio audio. This allows phone systems to be integrated into the broadcast console as never before, facilitating seamless call-handling and even (dare we say it) interconnection between the business VoIP PBX and the on-air phone system. iQ was designed with this functionality in mind.

As a result, iQ requires a Telos iQ6 or a VXseries phone system to take advantage of this advanced on-console phone integration. iQ’s hybrid controls are not compatible with older products, or those of other hybrid vendors, although the outputs of these products may be assigned to any fader and the phone system operated with its own proprietary controller.

Line Buttons: Each line has 2 buttons, the left column

for Hybrid 1 and the right column for Hybrid 2. Pressing

a line button places the caller on that line on-air us-

ing the corresponding hybrid. Pressing a line button

when a call is already on-air locks the call on-air, pre-

Figure 3-7: iQ 6-Fader+Telco (partial view)

Page 37

venting accidental disconnection. To unlock, press the

line button a third time.

Drop 1 and 2 Buttons: These buttons will drop calls

(in their respective column) that are currently on-air, if

that call is not in the “locked” state described above.

Next: Selects the line which has been ringing longest.

If no line is ringing, it selects the line that has been on

(normal) hold the longest.

Channel Soft Key: At this writing, the soft key on a fad-

er with a phone source assigned places the caller on hold.

iQ 6-Fader+User Keys Expansion Frame

The operation of faders found on this iQ 6-Fader

frame is identical to the operation of the individual fad-

ers that are found on the iQ Main. Please refer to the

callout descriptions for iQ Main in the previous section.

Each iQ 6-Fader+User Key frame also includes two

banks of User Keys. Each group consists of ve keys

that may be programmed as extensions of two of the iQ’s

GPIO ports. For information on conguring and using

these keys, please refer to Chapter 5: Conguring GPIO.

Source-Speciﬁc 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.

Control Room Operator Mic Channel

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 Operator

mic affects CR Monitor speaker and Preview speaker

mut ing.

When the board operator pushes a Talkba c k key, all

output bus assignments for the Control Room Opera-

tor microphone are temporarily muted, while his mic’s

audio is routed to the requested Talk b ack destination.

Releasing the key returns the channel outputs to normal.

Pressing the channel ON key for the CR Operator

Mic while the channel is already on will mute the chan-

nel until the key is released, acting as a “cough” function

for the board operator. On-air status and speaker mutes

are unaffected by this action. The CR Operator micro-

phone channel will mute the CR Monitors (Monitor 1)

and the Preview speakers whenever the channel is On, or

if Preview or Record Mode Engage keys are selected.

Figure 3-8: IQ 6-Fader Module with User Keys

Producer Microphone Channel

The Producer’s microphone is meant to be used at

a 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 Studio talkback

channel.

Control Room Guest Microphone Channel

There are often microphones in the Control Room

other than the board operator’s; i.e., an in-studio guest or

perhaps an announcer located physically near the board

op. These microphones also control the muting of the

3: Console Operation • 29

Page 38

3: Console Operation • 30

Control Room monitor speakers.

Control Room Guest Microphone channels will mute

the Control Room speakers and the Preview speakers

whenever the channel is ON, or if Preview key is se-

lected.

Studio Microphone Channel

Another type of microphone 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.

Logic for Studio Microphone channels is identical

to that of the Control Room Guest Microphone channel.

The Studio Monitor speakers mute when a Studio Mi-

crophone channel is turned on, or if it is assigned to the

Program-4/Record bus.

External Microphone Channel

This type of microphone operates identically to a

studio or CR guest microphone except that is does not

incorporate any monitor muting functions.

Line Channel

Line-level devices like CD players, tape players, etc.,

use the Line Channel prole. 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.

You’ll also nd a Ready command which will re-

motely illuminate the OFF lamp on the IQ channel and

activate the GPIO OFF lamp driver, allowing source

equipment to signal the operator with either a steady-

state OFF key (indicating source ready) or a ashing

OFF lamp (indicating source next). Refer to the GPIO

Node User’s Manual for information on interfacing to

the GPIO’s inputs and outputs.

Phone Channel

The Phone Channel prole is used, naturally, for tele-

phone hybrid audio sources. Each Phone Channel has its

own discrete Feed-to-Source mix-minus output.

Each iQ can accommodate as many unique, automat-

ically-generated mix-minus feeds as it has faders. If the

Feed-to-Source mode is set to “Auto”, (the most common

option - see Chapter 2: iQ Inputs and Outputs for the

section entitled “Source Prole Options”), phone callers

hear the output of the Pr o gram-1 bus, minus himself,

when the channels they’re assigned to are ON. When the

caller’s channel is OFF, their channel’s Tal kbac k key is

lit and they hear the Board Operator’s mic routed to their

Tal kbac k feed.

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

Prole for your hybrid. This automatic switching mode

makes it very easy to prep callers and then seamlessly

take them to air with a minimum of key pushes.

Codec Channel

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.

Tal k enables remote talent to communicate with the

board op using the Talk b ack bus. When Talk is activat-

ed, all outputs for that channel are muted and the source

audio is fed to the Tal kbac k bus; the channel’s OLED

displays TALK to CR. When the user stops talking, the

channel returns to normal.

When the operator uses the Softkey to talk to the

phone or codec source, the OLED displays TALKBACK.

When the remote mute function is activated, the

OLED displays MUTED and all the channel outputs are

muted until the command is released.

Page 39

The mix-minus output (congured in the Source

Prole section) normally feeds Prog ram -1 audio to

the remote, but can be switched to Program-2, 3, 4 or

Phone. 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 Talkb a ck audio

when the board op talks to the remote. The Right output

sends uninterrupted program audio (without talkback)

for use as a PA feed.

Remote Control

Console channels can be turned 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 Chapter 5: Conguring GPIO for detailed infor-

mation interfacing to GPIO inputs and outputs.

What’s Next

Now that you know how what all the controls do,

let’s get acquainted with one of iQ’s most powerful func-

tions: Show Proles.

3: Console Operation • 31

Page 40

D igt res

re  ler DJs?

J Brary nws.

3: Console Operation • 32

Page 41

Chapter Four:

channel with a pending source change will immediately load the waiting source.

Show Proﬁles

If you’ve read Chapter 2: Inputs and Outputs, you

already have a good understanding of Source Proles.

In the same way that Source Proles allow you to de-

termine how an individual channel is congured when

a source is loaded to a fader, Show Proles let you build

conguration les that determine how the entire console

behaves, which sources are loaded, and what channels

they appear on — “snapshots” that you can load at will

to recall baseline show settings.

For instance, you could use Show Proles as a “re-

turn to zero” command. iQ is highly customizable; jocks

can might load new sources, change EQ or make other

adjustments during their show. A Show Prole can reset

the console to its default state for the next operator.

Or, you could use Show Proles to dene 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 optimize the board for use with that situation.

You can save and recall up to four unique Show Pro-

les to customize your iQ for different users or shows.

Important note about using Show Proles:

If you load a new Show Prole while any channels are still ON, those channels will remain in their current state - that is, any new source that

is assigned to that channel by the Show Prole

will not be loaded - until the channels are turned OFF, at which time, the new source will load for that channel. This is to prevent operators from accidentally taking an active source off the air.

This also enables operators to load a new Show

Prole a few minutes prior to needing it, secure

in the knowledge that any sources that are ON will not be affected. Note that this notication

will be given even if the “new” source is the same as the one currently on-air.

The surface will signal the operator that a source

change is pending by blinking the OFF button and displaying the message Src Waiting on that channel’s OLED display. Turning OFF a

Creating A Show Proﬁle

Build A Show

iQ’s Web interface, which you’ve used to construct

Source Proles, is also used to help build Show Proles,

so make sure a computer connected to your QOR.32 or

Livewire network is within easy reach.

Your iQ is shipped from the factory with a default

Show Prole. This loads the rst time you turn on your

iQ; it provides the “template” you’ll use to construct cus-

tom Show Proles. You’ve no doubt been exploring your

iQ, so you might want to reload Default Show Prole

A with the Prole key located in the iQ Master section.

Simply press and hold the A key and, after a few seconds,

the default prole will load, resetting the mixing surface

to its factory state.

The rst step in building a Show Prole is to set

up iQ using the Channel Options, Monitor, Headphone,

Studio and other board options as described in Chapter

3: iQ Operations. Get started by assigning a source to

each iQ fader using the Options knobs at the top of each

channel.

After you’ve assigned a source for each fader, you

can congure the rest of the Channel Options:

• Gain,

• Pan / Balance,

• Feed to Source.

When you’ve congured all Channel Options, con-

tinue on and make monitor and headphone selections

since these are all saved in Show Proles as well.

When you’ve got the board congured to your satis-

faction, proceed to the next section.

Capture It!

It’s now time to save your iQ conguration as a Show

Prole. Enter your iQ’s IP address in your Web browser.

When the Main Menu appears, choose Shows on the

4: Show Proles • 33

Page 42

Figure 4-1: Show Proles screen

sidebar menu. This is where you’ll come whenever you

need to capture, construct or administer a Show Prole.

Under the Show Proles list, you’ll nd four proles

listed with three options for each Show Prole:

• Edit. Choose this option to manually edit any ex-

isting show proles.

• Capture. Takes a “snapshot” of the current iQ

console state and saves it for recall. This is the op-

tion we’ll use in just a moment.

• Reset. Choose this option when you want to

construct an entire Show Prole completely from

scratch and reset all parameters to their default

state or value.

tions to assign sources and set monitor options. 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 per sonalizing their

own iQ conguration — and

saves you the work!

Show Proﬁle Options

Although the ability to cre-

ate Show Proles using the “cap-

ture” function is powerful, there

are a few more options available

exclusively via the iQ Web inter-

face. You will probably nd that

a combination of console setup, capture and edit works

best.

When you select any Show Prole, you will enter the

edit screen as shown in Figure 4-2. Notice that there is a

section for your iQ faders, as well as sections for Phone,

Monitors, External Inputs and some general User Inter-

face settings. At the very top of the page is the Show

Name. Use this to give the Prole a descriptive appel-

lation

We will now look at the individual Show Prole set-

tings in detail.

You’ve already set up your iQ, so now you can just

“capture” your settings for further use. Choose Capture

from the menu. iQ allows you to capture up to four Show

Proles which are saved as A, B, C and D. You may also

give meaningful names to these Show Proles as de-

scribed in the next section.

There may be a few more options you’d like to tweak,

since not all options are accessible from iQ console itself.

Let’s go a little deeper into Show Proles to nd out ex-

actly what’s available to you.

Suggestion: As part of iQ training, show

4: Show Proles • 34

your talent how to use the Channel Op-

Fader Channels

This section has settings for each fader channel.

When this specic Show Prole is loaded, these settings

will be applied.

• SOURCE: You can change the source using the drop-

down box. The name of the source you assign will be

displayed on the OLED below the fader.

• ON/OFF: Species the channel ON/OFF state when

the prole is loaded.

• PGM1/2/3/4 : Determines the default bus assign-

ments for this channel when the Show Prole is load-

ed. When a check-box is selected, the source will be

assigned to the corresponding bus.

• Group Start: There are three possible settings:

Page 43

» Independent - this fader

is not associated with any

other fader and operates

independently

» Master - is used to select

one fader as the master for

group starts.

» Slave - is used to select

one or more faders as

Slaves that will follow the

action of the fader that has

been designated as the

Master.

Phone Connection

This section contains the set-

tings for connection to your iQ6

or Telos VX phone system. (Of

course, you can also connect your

iQ to any stand-alone hybrid by

using the inputs and outputs on

the QOR.32, but the settings con-

tained in this section function only

with iQ6 or VX phone systems.)

Note that the iQ phone source

proles contain settings that are

used to specify individual back-

feeds and hybrid channels for all

types of phone systems.

• Phone Server IP: Speci-

es your user name and the

IP address of your iQ6 or

Telos VX phone server. Log-

in information is in the for-

mat: user:pass@ip. For ex-

ample, if your VX user name

is Marty and your password

is “C185”, you would enter

Marty:[email protected] where 192.168.0.123

is the IP address of your phone server.

• Studio Name: This is your studio name, as cong-

ured in the VX system.

• Show Name: This can be the same as your iQ show

prole for consistency but it must correspond to a

Show Name congured in your VX phone system.

Figure 4-2: Show Prole Options

If you leave this blank, the current VX show will re-

main in use.

Monitor Section

• Volume (-85..0 dB): You may specify initial vol-

ume settings for the outputs listed below. The default

setting is full mute:

4: Show Proles • 35

Page 44

4: Show Proles • 36

» CR Monitor

» CR Headphones

» Preview

» Studio Monitor

• Volume Adjust: This checkbox determines whether

you will permit the operator to change the volume

settings for the outputs listed below — useful for

locking a console into a certain state during unat-

tended operation. “Allowed” is checked by default.

» CR Monitor

» CR Headphones

» Preview

» Studio Monitor

• Dim Gain (-30..0 dB): You may adjust the Dim

Gain independently for CR Monitor, CR Headphones

and Studio Monitor. This determines the amount of

dimming that will be applied when Talkback is di-

rected to one of these outputs. The default setting is

-12.0 dB.

• Mute Gai n (-85 . . 0 dB): You can specify the amount

of attenuation that takes place during a Mute func-

tion. The default is full mute. Mute can be applied to

CR monitor, Preview and Studio Monitor but it is not

applied to CR Headphones.

• Source: Selects the default source for CR Monitor

and Studio Monitor. Available options are Program

1/2/3/4 and External 1/2.

• Source Selection: You may prevent the operator or

studio talent from changing their CR Monitor or Stu-

dio Monitor source if the corresponding “Allowed”

check box is unchecked.

• Preview In: determines whether or not Preview will

be heard in CR Monitor or CR Headphones in addi-

tion to the Preview speaker.

• Logic Port: Use this to specify the Livewire channel

number assigned to logic ports (GPIO) used for CR

Monitor and Studio Monitor functions. These GPIO

ports are used for on-air lights and other functions as

described in the GPIO tables. Please refer to Chap-

ter 5: Conguring GPIO for more details.

External Inputs

• Source: Lets you specify two External sources for

monitoring purposes plus one source that is an Ex-

ternal Preview source. Note that the drop-down se-

lector displays all sources that have been dened as

iQ sources in the Source Prole manager.

What’s External Preview for? “External” refers here to any source not generated inside the studio you’re working in. Let’s say you have a

Talkback source that you want to feed to the

console’s Preview speaker. To do this, you would

setup a source prole for the Talkback audio and

specify that source as External Preview

User Interface

Several global settings are dened in this section.

Remember that even though these are general settings,

they are specic to each Show Prole so you may ac-

commodate the unique requirements of different shows.

• Timer Mode: is used to specify the default timer

mode - manual or automatic. In automatic, the timer

may be started by turning a channel ON.

• Preview Interlock Mode: If Enable is checked,

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 pushing

and holding any lit Preview key while pushing other

Preview keys to add or subtract. If unchecked, each

Preview key works like a press-on, press-off latching

switch. Multiple faders can be assigned to Preview

simply by pushing once; a second push cancels any

individual Preview assignment.

• Switchable Meter Source: The right half of the

second OLED display is a switchable meter. The

desired default may be selected from the drop-down

menu. Choices are: Program 4 or Follow Monitor.

• Logic Port for Timer: Enter the Channel Number

of the GPIO port you wish to use for external control

of your Count-Up timer.

• Talk to CR Level: Use up to -30 dB attenuation or

10 dB gain on the contents of the Talkba c k bus.

• Control Lock Map: This section includes several

check boxes. When a box is checked, the selected

actions are allowed. Any unchecked boxes will pro-

hibit the operator from accessing these functions

when this Show Prole is loaded. The selections are:

Page 45

» Meter Source

» Timer Mode

» Timer Controls

» Record Mode

» Talk to backfeeds

» Talk to Studio

» Preview in HP

As usual, please remember to hit Apply when you

are done to save your changes.

Record Mode

Record mode has four options:

» Disabled (default)

» Enabled

» CR Ready

» CR Ready with Auto Reset.

These options control the function of the Record key.

If any option but Disabled is selected, a unique Livewire

channel number must be assigned to the Logic port eld.

When enabled, logic follows the Record Device

GPIO table found in the GPIO chapter of this manual.

CR Ready simply enables the rst pin on the logic port

when the record button is pressed; CR Ready with Auto

Reset does the same, but the pin resets once a micro-

phone is turned on.

External Talk

If the console is installed in a Control Room where

the operator will not go “live” with a mic, this option

saves you from the need to assign the Operator Mic

source type to a fader for Talkback to Codecs or Phones.

Assign the appropriate source to External Talk, and with

no Operator mic loaded to a channel, the operator can

still engage Talk functions to backfeeds.

What’s Next?

We have mentioned GPIO many times in the preced-

ing chapters. Join us in Chapter 5 to learn how to inter-

face the logic functions of your iQ console with the real

world.

4: Show Proles • 37

Page 46

 t thsn tngs

H lng d t r? Gt

n RCA, gn.

4: Show Proles • 38

Page 47

GPIO Port Deﬁnitions

Chapter Five:

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 rst truly routable machine

logic/audio interface. Unlike conventional logic connec-

tions which require each command circuit to be wired

individually, Axia sends machine controls over the same

Ethernet your audio travels on, further reducing infra-

structure, cost and tedium.

The QOR.32 has eight DB-15 connectors on its back

panel. Each connector (also known as a GPIO port) can

be associated with a device in your studio, and provides

ve opto-isolated inputs and ve opto-isolated outputs

per device for machine control, lamp drives and remote

channel controls. GPIO ports can also be monitored and

controlled by our PathnderPC software.

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?

Back in Chapter 2, when you constructed a Source

Prole for a telephone hybrid, you dened the source

type (see “Adding Backfeeds and GPIO to a Source

Prole”). This is important, because when that source

is assigned to a console fader, iQ uses this Source Prole

selection to tell the GPIO Node what sort of command

to send to the attached device.

Along with controlling external audio devices, iQ

GPIO (General Purpose Input/Output) interface also in-

cludes logic commands for routine studio/control room

operations such as tally lights, monitor muting, On-Air

lights and more.

The last chapter explained source proles and

showed you how you can associate GPIO with a source.

This chapter explains how to set up iQ GPIO to handle

these functions. We also invite you to read the GPIO

Node User’s Manual, for more in-depth information on

the topic of GPIO.

Note: The iQ console is used with a QOR.32 that includes eight GPIO ports. GPIO ports on standalone GPIO nodes or other Axia consoles may also be associated with your iQ sources if your iQ is a part of a larger network. See Chapter 7: Livewire Networks and iQ for details.

If iQ “sees” in the Source Prole that the assigned

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

logic for

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.

for the following types of devices:

function the pins provide in each different device mode.

On, Off, Remote Mute and Remote Talk

Axia GPIO ports can deliver unique command sets

1. Mic (Operator, Guest, Producer)

2. Line Input

3. Codec

4. Telephone Hybrid

5. Computer Playback Device

6. Control Room Monitor

7. Studio Monitor

8. Profanity Delay Device

9. Recording Device

10. Accessory Button Panel Device

The next few pages contain tables that explain what

5: Conguring GPIO • 39

Page 48

GPIO Operator’s Microphone Logic

SOURCE

Name Pin Typ e Notes

INPUTS

ON Command 11 Active L ow Input Turns channel ON

OFF Command 12 Active Low Input Turn channel OFF

TALK (to Monitor 2) Command 13 Active L ow Input Activates the TALK TO MON2

MUTE Command 14 Active Low Input Mutes channel outputs

TALK (to PREVIEWED

15 Active Low 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 Lamp 4 Open Collector to Logic Com-

mon Return

TALK (to PREVIEWED

SOURCE) 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 r eturn Can be connected to Pin 7

Logic +5 Volt Supply 9 Logic Supply, Individually

Fused

Input Common 10 Common for all 5 inputs Connect to power supply of

NOT CONNECTED 6

function and routes mic audio to the Talkback bus.

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

Illuminates when channel is ON unless TALK or MUTE is active

Illuminates 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

5: Conguring GPIO • 40

OUTPUT

COMMON

RETURN

ØV (GND) SOURCE

OUT

8 7 6 5 4 3 2 1

15 14 13 12 11 10 9

IN5IN4IN3IN2IN1IN

OUT

+5 V POWER

COM

1N/C

GPIO v.”ZA” 4/2009

Page 49

GPIO Control Room Guest Microphone Logic

SOURCE

Name Pin Typ e Notes

INPUTS

ON Command 11 Active L ow Input Turns channel ON

OFF Command 12 Ac tive Low Input Turn channel OFF

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

MUTE Command 14 Active Low Input Mutes channel outputs

NOT CONNECTED 15

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 Lamp 4 Open Collector to Logic Com-

mon Return

NOT CONNECTED 5

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

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

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 speakers

Illuminates when channel is ON unless TALK or MUTE is active

Illuminates when channel is OFF

Illuminate s when TALK is active

Illuminate s when MUTE 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

OUTPUT

COMMON

RETURN

ØV (GND) SOURCE

OUT

8 7 6 5 4 3 2 1

15 14 13 12 11 10 9

IN5IN4IN3IN2IN1IN

OUT

+5 V POWER

COM

OUT

1N/C

GPIO v.”ZA” 4/2009

5: Conguring GPIO • 41

Page 50

GPIO Studio (Monitor 2) Guest Microphone Logic

Name Pin Typ e Notes

INPUTS

ON Command 11 Active L ow Input Turns channel ON

OFF Command 12 Ac tive Low Input Turn channel OFF

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

MUTE Command 14 Active Low Input Mutes channel outputs

NOT CONNECTED 15

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 Lamp 4 Open Collector to Logic Com-

mon Return

NOT CONNECTED 5

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

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

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 speakers

Illuminates when channel is ON unless TALK or MUTE is

active

Illuminates when channel is OFF

Illuminate s when TALK is

active

Illuminate s when MUTE is

active

device or to Pin 8

if source is not providing

common

Can be connected to Pin 10 if source is not providing volt-

age; active only when source

has been assigned to channel.

source device or to Pin 9

5: Conguring GPIO • 42

OUTPUT

COMMON

RETURN

ØV (GND) SOURCE

OUT

8 7 6 5 4 3 2 1

15 14 13 12 11 10 9

IN5IN4IN3IN2IN1IN

OUT

+5 V

COM

POWER

SOURCE

1N/C

GPIO v.”ZA” 4/2009

Page 51

GPIO Producer’s Microphone Logic

Name Pin Typ e Notes

INPUTS

ON Command 11 Active L ow Input Turns channel ON

OFF Command 12 Ac tive Low Input Turn channel OFF

TALK (to MONITOR 2)

Command

MUTE Command 14 Active Low 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 Lamp 4 Open Collector to Logic Com-

TALK (to PREVIEWED

SOURCE) Lamp

POWER & COMMON

Source Common 7 Logic Common Connect to ground of source

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

Logic + 5 Volt supply 9 Logic Supply, Individually

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

NOT CONNECTED 6

13 Ac tive Low Input Activates the TALK to MON2

function and routes mic audio to the Talkback bus.

15 Active Low Input Activates the TALK button

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

Illuminates when channel is

mon Return

ON unless TALK or MUTE is active

Illuminates 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 Collector 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 voltage; active only when source has been assigned to channel.

source device or to Pin 9

OUTPUT

COMMON

RETURN

ØV (GND) SOURCE

OUT

8 7 6 5 4 3 2 1

15 14 13 12 11 10 9

IN5IN4IN3IN2IN1IN

OUT

+5 V

COM

POWER

SOURCE

OUT

1N/C

GPIO v.”ZA” 4/2009

5: Conguring GPIO • 43

Page 52

GPIO Line Input Logic

SOURCE

Name Pin Type Notes

INPUTS

ON Command 11 Active Low Input Turns channel ON

OFF Command 12 Active Low Input Turns channel OFF & sends

PREVIEW Command 13 Active Low Input Turns preview ON

RESET Command 14 Active Low Input Turns channel OFF, while not

READY Command 15 Ac tive 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

Illuminates when channel is ON

Illuminates when channel is OFF and READY is ac tive

Illuminates when PREVIEW 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

5: Conguring GPIO • 44

OUTPUT

COMMON

RETURN

ØV (GND) SOURCE

OUT

8 7 6 5 4 3 2 1

15 14 13 12 11 10 9

IN5IN4IN3IN2IN1IN

OUT

+5 V POWER

COM

1N/C

GPIO v.”ZA” 4/2009

Page 53

GPIO Codec Logic

SOURCE

Name Pin Type Notes

INPUTS

ON Command 11 Active Low Input Turns channel ON

OFF Command 12 Active Low Input Turns channel OFF

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

MUTE Command 14 Active Low Input Mutes channel outputs

TALK (to SOURCE) Command 15 Active Low Input Allows an ex ternal 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 Lamp 4 Open Collector to Logic Com-

mon Return

TALK (to SOURCE) 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

routes source audio to PVW speakers

to activate channel TALK TO SOURCE function.

Illuminates when channel is ON unless TALK or MUTE are active

Illuminates when channel is OFF.

Illuminate s when TALK is active

Illuminate s when MUTE is active

Illuminates 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

OUTPUT

COMMON

RETURN

ØV (GND) SOURCE

OUT

8 7 6 5 4 3 2 1

15 14 13 12 11 10 9

IN5IN4IN3IN2IN1IN

OUT

+5 V POWER

COM

OUT

1N/C

GPIO v.”ZA” 4/2009

5: Conguring GPIO • 45

Page 54

GPIO Telephone Hybrid Logic

SOURCE

Name Pin Type Notes

INPUTS

ON Command 11 Active Low Input Turns channel ON

OFF Command 12 Active Low Input Turns channel OFF

PREVIEW Command 13 Active Low Input Turns preview ON

RESET Command 14 Active Low Input Turns channel off while not

READY Command 15 Ac tive 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

Illuminates when channel is ON

Illuminates when channel is OFF

Illuminates when PREVIEW is ON

A 100 ms PULSE is sent when

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

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

5: Conguring GPIO • 46

OUTPUT

COMMON

RETURN

ØV (GND) SOURCE

OUT

8 7 6 5 4 3 2 1

15 14 13 12 11 10 9

IN5IN4IN3IN2IN1IN

OUT

+5 V POWER

COM

1N/C

GPIO v.”ZA” 4/2009

Page 55

GPIO Control Room Monitor Logic

SOURCE

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 PREVIEW Com-

13 Active Low Input Feeds External Audio Input to

mand

TALK TO EX T Command 14 Active Low Input Turns on Talk to Exter nal

Not used. 15 Active Low Input

OUTPUTS

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

mon Return

DIM CR Lamp 2 Open Collector to Logic Com-

mon Return

PREVIEW Lamp 3 Open Collector to Logic Com-

mon Return

TALK TO EX T Lamp 4 Open Collec tor 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.

PREV IEW

Audio.

Illuminate s whenever CR monitors are muted

Illuminate s whenever control room monitors are DIMMED

Illuminate s when PREVIE W is active.

Illuminate s when Talk to External 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

OUTPUT

COMMON

RETURN

ØV (GND) SOURCE

OUT

8 7 6 5 4 3 2 1

15 14 13 12 11 10 9

IN5IN4IN3IN2IN1IN

OUT

+5 V POWER

COM

OUT

1N/C

GPIO v.”ZA” 4/2009

5: Conguring GPIO • 47

Page 56

GPIO Studio Monitor Logic

SOURCE

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 Count-up Event Timer

Command

NOT CONNECTED 14

Not Used 15 Active Low Input

OUTPUTS

Studio ON A IR Lamp 1 Open Collec tor 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

NOT CONNECTED 4

TALK TO STUDIO/MONITOR 2 Active L amp

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 star ts timer.

Illuminates whenever Studio monitors are muted

Illuminates whenever Studio monitors are DIMMED

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

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

5: Conguring GPIO • 48

OUTPUT

COMMON

RETURN

ØV (GND) SOURCE

OUT

8 7 6 5 4 3 2 1

15 14 13 12 11 10 9

IN5IN4IN3IN2IN1IN

OUT

+5 V POWER

COM

1N/C

GPIO v.”ZA” 4/2009

Page 57

GPIO Computer Playback Device Logic

SOURCE

Name Pin Type Notes

INPUTS

ON Command 11 Active Low Input Turns channel ON

OFF Command 12 Active Low Input Turns channel OFF & sends

PREVIEW Command 13 Active Low Input Turns preview ON

Not Used 14 Active Low Input

READY Command 15 Ac tive 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.

Illuminates when channel is OFF and READY is ac tive

Illuminates when PREVIEW 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

OUTPUT

COMMON

RETURN

ØV (GND) SOURCE

OUT

8 7 6 5 4 3 2 1

15 14 13 12 11 10 9

IN5IN4IN3IN2IN1IN

OUT

+5 V POWER

COM

OUT

1N/C

GPIO v.”ZA” 4/2009

5: Conguring GPIO • 49

Page 58

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

Name Pin Type Notes

INPUTS

User Button 1 L amp 11 Active Low Input Illuminates User Button 1

User Button 2 L amp 12 Active Low Input Illuminates User Button 2

User Button 3 L amp 13 Active Low Input Illuminates User Button 3

User Button 4 L amp 14 Active Low Input Illuminates User Button 4

User Button 5 L amp 15 Active Low Input Illuminates User Button 5

OUTPUTS

User Button 1 Switch 1 Open Collector to Logic Com-

mon Return

User Button 2 Switch 2 Open Collector to Logic Com-

mon Return

User Button 3 Switch 3 Open Collector to Logic Com-

mon Return

User Button 4 Switch 4 Open Collector to Logic Com-

mon Return

User Button5 Switch 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

5: Conguring GPIO • 50

OUTPUT

COMMON

RETURN

ØV (GND) SOURCE

OUT

8 7 6 5 4 3 2 1

15 14 13 12 11 10 9

IN5IN4IN3IN2IN1IN

OUT

+5 V

COM

POWER

SOURCE

1N/C

GPIO v.”ZA” 4/2009

Page 59

GPIO Recording Device Logic

Name Pin Type Notes

INPUTS

Not Used 11 Active Low Input

Not Used 12 Active Low Input

Not Used 13 Active Low Input

Not Used 14 Active Low Input

Not Used 15 Active Low Input

OUTPUTS

Rec ON Lamp 1 Open Collector to Logic Com-

mon Return

Rec OFF Lamp 2 Open Collector to Logic Com-

mon Return

Not used 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

Active whenever Record Mode is engaged.

Active whenever Record Mode is NOT engaged.

n/a

A 100 mS PULSE sent when Record Mode is engaged.

A 100 mS PULSE sent when Record Mode is disengaged.

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

OUTPUT

COMMON

RETURN

ØV (GND) SOURCE

OUT

8 7 6 5 4 3 2 1

15 14 13 12 11 10 9

IN5IN4IN3IN2IN1IN

OUT

+5 V

COM

POWER

SOURCE

OUT

1N/C

GPIO v. 10/2009

5: Conguring GPIO • 51

Page 60

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 Prole, 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-

le? 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 2.

Figure 5-2: GPIO Select Source popup list

1. Open your Web browser and enter the IP ad-

dress of your console. Choose GPIO Conguration

from menu. Enter your password if prompted (default

2. If you haven’t previously assigned any GPIO

ports, the GPIO denitions screen will be blank. No-

tice the status indicators at the top of the page, show-

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

The “Logic for” option denes how the port will be

used.

» LWRP: The port will only be controlled through

a control protocol. Software packages, as in Path-

nder use the protocol.

» LIVEWIRE: Specify a channel number and the

port will follow the logic associated with that

channel (this will be used for CR monitor logic)

» SPECIFIED INPUT: Dene an input port and

the port will follow the logic of that input.

3. If using the

LIVEWIRE option, you will need

to specify the Channel Number in the Livewire

Channel column. You can do this by manually en-

tering the number, or browsing the network for an

advertised Livewire channel. When you click on

any list icon, a small popup window will open, enu-

merating all of the audio sources available on the

Livewire network (Figure 5-2). 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.

If you’re using a local source, specify the input. If a

source prole has been created to control a phone

hybrid using Analog 5 as the input, select Analog 5

in the drop down list. The functions of the GPIO port

will now follow those shown in the Hybrid Logic

Chart.

4. Type a descriptive name in the Name eld, and

click on the Apply button.

5. The source we’ve been using for this demon-

stration is a telephone hybrid; we can now observe

the pin status indicators change as we turn the chan-

5: Conguring GPIO • 52

Figure 5-1: GPIO Port Assignment

Figure 5-3: Pin status indicators showing

GPIO por t activity

Page 61

nel on and off, as shown in Figure 5-3.

Referring to the Hybrid Logic Chart, we can see that

when the iQ channel is

ing Output Pin 2 – the Off Lamp logic command – is

high. Turning the channel On, we see Pin 4 pulse

briey before Pin 1 goes high: the GPIO has just sent

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 once again becomes active.

See how easy that was? Simply assigning an existing

audio source to a GPIO port automagically congures

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

send the appropriate logic commands to that port when

Off, the indicator represent-

the source is assigned to a iQ channel.

Connections to 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 5-4 shows details

for both types of connections:

Figure 5-4 GPIO input connections

5: Conguring GPIO • 53

Page 62

Output Connections

The GPIO port’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 5-5 shows the recommended connections

for outputs:

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 “dr y” contact closure to the external device.

Please note that this section is provided as a “jump-

start” introduction to Axia GPIO nodes. For a fuller

understanding of the GPIO node’s options and require-

ments, you may wish to read the GPIO Node User’s

Manual.

Virtual GPIO

Virtual GPIO ports allow you to to avoid having to

wire a GPO pin to a GPI pin in order to achieve a particu-

lar function. The Virtual GPIO ports provide an ability to

dene up to ve GPO pins that can be “virtually wired”

to a single GPI pin. Typically this is used in cases where

you want a GPO function to trigger a different GPI func-

tion. Please refer to the GPIO tables to determine what

those functions are.

5: Conguring GPIO • 54

Figure 5-5: GPIO output connections

Page 63

An example of this sort of “virtual GPIO” operation

is triggering the TALK TO EXT command and EXT

PREVIEW command of the CR Monitor logic.

Conﬁguring and using iQ User Keys

The 6 Fader + User Keys iQ expansion module pro-

vides two sets of 5 programmable “user keys.” You’ll

use the iQ Control Center’s Console Conguration page

to congure ports for these keys to use.

When you’ve dened one of the expansion console

units as “Console Ext 6”, you’ll nd a section marked

“User Buttons” that you’ll use to congure the functions

What's Next

When you’re ready, join us in Chapter 6 for a com-

prehensive “under the hood” discussion of iQ Advanced

Controls.

Figure 5-6: User Buttons conguration options

of these keys.

• The ID column identies the User Keys from top to

bottom, and in the left and right columns.

• The GPIO Channel box (and the adjacent selector

boxes) allow you to assign a Livewire GPIO Chan-

nel number to each User Key.

• The Role drop-down selector has two choices:

» GPIO Snake: Choose this option when you want

a button-press to result in a GPO response at the

GPIO port assigned to the GPIO Channel you’ve

specied.

» GPIO module: Choose this option when you

want a button-press to be interpreted as a GPI

command at the GPIO port you’ve assigned

to the GPIO Channel. Also, if the GPIO Chan-

nel has a GPO message issued on the network,

the corresponding button will light, indicating

“ready.”

5: Conguring GPIO • 55

Page 64

I t r, 

ai em 

 wrke. O, !

5: Conguring GPIO • 56

Page 65

Chapter Six:

Advanced Controls

In previous chapters, we covered the basics of setting

up your iQ. Now that you’re familiar with your console,

you should consider yourself an advanced user! In keep-

ing with your dawning guru status, it’s time for a thor-

ough look at some of iQ’s more advanced conguration

options.

Many of iQ’s features can be customized by soft-

ware settings. And owners like you have given us great

ideas for new operational capabilities, some of which are

included in our periodic software updates. With that in

mind, we strive to keep our documentation as up-to-date

as possible.

If you have questions that are not covered here, we

invite you to contact our 24/7 Support crew:

• by email at [email protected]

• by phone at +1 216-241-7225.

iQ Conﬁguration Screens

The iQ Control Center

Figure 6-1 shows the screen that greets you when

you log into your iQ from your Web browser. The main

menu runs down the left side and gives access to options

and settings. In the main window you can see at a glance

what version of iQ software is loaded, system informa-

tion, CPU statistics, and more. For diagnostic purposes,

this information screen is openly accessible, but clicking

on any menu heading will prompt you for a password.

Here you’ll nd options related to the QOR.32, iO Fader

Frames and Ethernet switch.

The Status Screen

The Status screen is your home page. It displays ba-

sic system status as well as information pertaining to the

active software load. A sample of this screen is shown

in gure 6-1. Additional information displayed may in-

Figure 6-1: Status Screen

clude::

• iQ software version info including the current active

Version and Base

• System Information including:

» Version of Linux kernel

» Uptime of the iQ expressed in days, hours and

minutes

» CPU utilization

» Network Information

» Network status and utilization - transmit and re-

ceive data rates expressed in Mbps.

» Debug information

• File System Information - provides information on

memory and solid state disk utilization for the oper-

ating system. This information may be requested by

Axia tech support.

The Setup Menu

We touched briey on the IP features of the Setup

screen in Chapters 1 and 2. Now let’s look at the rest of

the tools on this page shown in Figure 6-2.

• Network Conguration contains the elds for the

iQ IP Address and other network functions.

» Hostname is the unique name you give the con-

sole to identify it in the Web interface. You might

want to name it after the studio it’s in.

6: Advanced Controls • 57

Page 66

» IP Address: This is the network address of your

iQ. We suggest that you have a plan to ensure that

all of your Livewire devices are assigned unique,

IP addresses.

Shortcut Key: You can also set the IP address of your iQ by simultaneously pressing and holding the Meter and Clock keys on the iQ Console. Use the Studio Monitor knob to navigate and follow the prompts to give your iQ a new IP address.

» Netmask: Enter your network’s submask here.

If you are not sure about this - consult your net-

work administrator. In most cases a Netmask of

255.255.255.0 is suitable.

Gateway: If you have a Core switch or a net-

work gateway to allow access from outside your

facility, enter that address here. A gateway is re-

quired for advanced IP address congurations

and for connection to an external NTP server.

Note: A reboot is required when any changes are made to the network parameters on the iQ Setup Menu.

• Web Access Password: By default, the user name

is set to “user” and the password is blank. If you

want to add a password, type it in both boxes and

click

Change. Note that passwords will not display

here once changed, so be sure to make a record of all

password changes.

•

Software Update: This is where you upload new

iQ operating software.

» Software Versions shows you the software

packages currently stored on your iQ ash mem-

ory card. The blue radio button is displayed next

to the active software image.

Change Active Bank: When you want to

change the active software package, click on the

radio button next to the image you wish to acti-

vate, and click this button. A reboot is necessary

to load the new software choice.

Upload Image: From time to time, Axia makes

new software packages available for down-

load from AxiaAudio.com/downloads/. Use the

Browse and Upload Image buttons to install

new software, as described in the Technical Bul-

letin that accompanies each software release.

Note that uploading a new image will always

over-write the inactive bank.

» Reboot shuts down iQ and restarts it. A reboot

is required after changing active software or after

changing any settings in your Network Congu-

ration.

6: Advanced Controls • 58

Figure 6-2: Setup Screen

Save your work! We recommend backing

up your Conguration les whenever a major

change is made, or is about to be made, to your

iQ. Whether you are re-conguring Show or Source proles en masse or about to perform a

software update, it’s always a good idea to have a copy of your important data.

The Customize Menu

The Customize page contains Clock settings and

Backup/Restore functions. Future enhancements may

include additional features in this area.

• Clock Options

» Clock Format: This is where you dene whether

you will view your time in 12 hour or 24 hour format.

Page 67

Figure 6-3: Customize Sc reen

Each individual IQ in your network can use either

its own internal clock or an external time server

for timekeeping. The next group of settings will

set up NTP (Network Time Protocol) time sync.

» Time Zone Offset: Specify your local GMT

offset in hours and minutes. For example, if you

live in the Eastern Tome zone in the USA, your

GMT offset will be -5 hours, 0 minutes. If you

live in Riga, Latvia, your offset will be +2 hours.

» DST in effect (+1 hour): In those area that im-

plement Daylight Savings Time, this check box

is used to tell your system to add one hour to the

GMT offset.

» NTP: The check box should be checked if your

iQ’s NTP clock sync function is enabled. To

disable NTP service, simply un-check this

box. The other box here is used to enter the

IP address of your external NTP server. This

server may be a PC on your local network or

it may be the IP address of a public NTP serv-

er in the Internet. Note that you must speci-

fy an IP address – a URL will not work.

If you wish to connect to a public or external

NTP server, be sure to specify a valid Gate-

way in your IP conguration.

You can tell if your NTP connection is working

by observing the presence of the NTP indicator

next to the clock display on your iQ overbridge.

•

Connguration: This is an extremely important

area of your iQ conguration since this is where you

will backup all of the hard work you have done.

» Backup Settings: All iQ settings can be

saved in a single operation and backed up to a

location on your local drive. When you select

the

Backup option, you will see the famil-

iar location navigator that prompts you for the

folder in which you wish to store your backup

le. The backup le will be named according

to the device name, IP address and date/time

the backup was performed. This naming con-

ventions allows you to store multiple backups

from multiple devices in the same location. An

example of an IQ backup’s le name might be

IQ-192.168. 0.20 0 -2010 - 03-25_17-13.xml.

Restore Settings: To restore a previous iQ

backup, use the browse button to locate the back-

up and then select Restore.

Log, Log History and Log Setup Menus

iQ keeps a detailed log of user actions and other sys-

tem events. Choosing the Log menu item lets you ex-

amine the last 100 logged activities; choosing the Log

History menu item allows you to view an entire day’s

log at one time and delete old log les if you choose.

The oldest log les are deleted automatically as storage

space dictates.

The Log Setup menu item allows you to specify an

external Syslog server and to congure the debug level.

This menu also allows you to specify from eight differ-

ent severity level lters. The lter choices (in order of

decreasing severity) are:

• Emergency: system us unusable

• Alert: action must be taken immediately

• Critical: critical condition

• Error: error conditions

• Warning: warning conditions

• Notice: normal but signicant condition

• Informational: informational messages

• Debug: debug level messages

6: Advanced Controls • 59

Page 68

Use this section as directed to do so by Tech Support.

The Module Manager

The

Module Manager heading displays information

about the iQ Main Frame as well as all other modules

(fader frames) and accessories connected to your CAN-

Bus ports. Some of these elds are for diagnostics; below

is a list of those you might nd useful:

Address: displays the number Axia has assigned

to each connected unit.

Typ e : gives you the working name of the module.

» State: tells you whether or not the module is

working, i.e., communicating with the Core CPU.

» Ping: Indicated ping response in ms.

Messages, Idle Time, Uptime: All indicate di-

agnostic information that is related to the CAN-

Bus communications. Tech support may request

this information for troubleshooting purposes.

» Hardware Revision: displays the hardware ver-

sion of the iQ module.

» Firmware Version: displays the rmware ver-

sion that’s loaded on the iQ module.

» Upload Firmware Group: From time to time,

new module rmware may become available

from Axia. You may install new rmware by

choosing Browse and then Upload.

NOTE: Updating a module takes it ofine during

the update process. While audio playing through

the module’s faders will continue uninterrupted, keep in mind that while updating (usually about

10-15 seconds) you will not be able to adjust

gain or turn faders on or off on the module being updated.

Brightness Control Menu

This menu offers several options for ne-tuning your

iQ displays to your studio’s ambient lighting. All val-

ues are expressed in percent. The default setting will be

suitable for most studio environments, however you may

make adjustments as needed.

User Modules Menu

This menu allows you to set up and use Axia acces-

sory SmartSwitch and Film-Cap Button modules and

accessory panels with your console. This area is where

you will nd settings for the 10 User Keys found on

the 6-fader Frame. Axia PathnderPC software is used

to provide powerful logic functions controlled by these

keys.

GPIO Conguration Menu

This menu is where you congure the assignments

for the four opto-isolated GPIO connections found on

the rear panel of the QOR.32. For a thorough discussion

of this screen and how to congure GPIO, please refer to

Chapter 5: Conguring GPIO.

Remote

The remote function available through the

web interface gives you many of the same con-

trols that are on the surface:

• You have the option to load a Show prole

by selecting the show in the dropdown se-

lector, and then pressing the

Load button.

• You can activate the Record mode.

• Each fader channel is shown with an op-

tion to change the source, change the ON

state, assignments to the four mixes, and

Preview state.

6: Advanced Controls • 60

Figure 6-4: Modules Manager

In order to change a state, you must make

the selection to the channel and press the Ap-

ply button for that row. This is control of a sin-

gle channel at a time. Below the Fader Chan-

Page 69

Figure 6-5: Remote Screen

tact [email protected] for explanations of

any differences you may nd.

What’s Next

iQ is designed to be the perfect standalone IP con-

sole. But what if you want to use your iQ as part of a

larger Livewire studio network? No problem! Read on as

we congure networking options for your iQ.

nels section are the controls for the monitors, where the

source and volumes for a monitor can be adjusted.

Prole Manager Menu

These menus allow you to construct and administer

Show and Source Proles specic to this iQ console. Re-

fer to Chapter 2: Inputs and Outputs and Chapter 4:

Show Proles for details on Source and Show proles.

IO Manager Menu

These menus allow you to administer your iQ’s au-

dio Inputs and Outputs. Refer to Chapter 2: Inputs and

Outputs for complete details on conguration of these

controls.

Ethernet Switch settings (Precongured)

QOR.32 contains an integrated Ethernet switch. This

switch manages the multicast functions of the console

and enables it to be connected to other devices via your

managed Livewire LAN.

NOTE: We make every effort to keep our manuals up-to-date, but sometimes R& D works quicker than our documentation elves! Controls documented in this section may vary from those actually presented on your product. Please con-

6: Advanced Controls • 61

Page 70

Dr, dr s co tr

 rs , r n rng.

’s Strucs r .

6: Advanced Controls • 62

Page 71

Inputs

Chapter Seven:

Networking with iQ

iQ is a superb standalone broadcast console — but

that’s just half the story! Like all Axia broadcast prod-

ucts, iQ has networking capabilities as well.

Axia invented networked audio for broadcast. We

call it Livewire, and iQ uses this networking ability in

several different ways:

• Your iQ console can load and utilize sources

from other studios connected to your Livewire

network.

• You may deliver outputs from your iQ to the

Livewire network for use by others.

• Naturally, iQ can also use GPIO logic that is

available on your Livewire network.

• The Livewire network allows you to use our

companion software package, PathnderPC,

for numerous advanced functions. The list of

features provided by PathnderPC is growing

continuously.

• Up to four iQ consoles can be congured dai-

sy-chain style, without the need for an exter-

nal core Ethernet switch, to take advantage of

network redundancy provided by implemen-

tation of the Spanning Tree Protocol (STP)

standard.

• You can manage your iQ remotely using its

web browser interface.

• Conguration backup and restore operations

may be performed over the network as well.

Congratulations — your iQ console is the world’s

rst broadcast mixer with a custom, built-for-broadcast

Ethernet switch built right in!

When properly congured and connected to other

iQ consoles (or, in a large studio facility, to an Ethernet

“core” switch), this network connection permits you to

access the resources of other devices connected to your

network.

iQ has a “gateway” for exchanging audio data with

the rest of your Livewire network, with two modes of

operation.

In the rst mode, iQ can consume up to 12 Livewire

audio streams from the network, and it can deliver 4

Livewire audio streams to the network.

For an in-depth discussion of Livewire, please review our publication “Introduction to

Livewire: IP-Audio System Design Reference and Primer,” which provides an excellent

discussion of IP-Audio and how standard Ethernet can be used to transport real-time broadcast audio in a studio environment. This publication is available at AxiaAudio.com/manuals/.

Figure 7-1: Codec Source

Chapter 7: Networking with iQ • 63

Page 72

Chapter 7: Networking with iQ • 64

In the second mode, iQ can consume up to 8

Livewire audio streams from the network, and it can

deliver 8 Livewire audio streams to the network.

To understand this, it might help to envision this

network connection as a high-speed freeway, with 8

or 12 “lanes” coming towards your studio, and 8, or

4, lanes going away from your studio, to the network.

To select the mode you wish to operate in, point

your browser to the “Customize” page in the QOR

Control Center, and use the “Livewire Mode” option

to select either “8 in, 8 out” or “12 in, 4 out.”

Selecting the Source Input

In Chapter 2: iQ Inputs and Outputs, we dis-

cussed the iQ console’s local inputs - those associ-

ated with the XLR and RJ-45 connectors on the rear

panel of the QOR.32. We saw how we could associ-

ate each of these physical inputs with a Source Pro-

le. The type of source (CR mic, Guest mic, codec,

phone, etc) determined parameters such as monitor mut-

ing and backfeeds.

When each Source Prole is congured, you have a

choice for the Source Input. If you select one of the rear

panel connectors, the console source is associated with

that input. If you select Livewire, you are telling the iQ

that this source is not associated with a local input but is,

instead, a source from elsewhere on your Livewire net-

work. You may then assign that Primary Source by us-

ing the Browse button to choose from a list of Livewire

sources. That’s all there is to it!

Figure 7-1 shows an example of a codec source

that’s been congured as a Livewire Source Input with a

network Primary Source. In this example, the Livewire

Channel Number of that source is 1037 and it is com-

ing from an Axia node named AES-103. The source has

a designation of CODEC_1 on that node. Everything

else in the conguration of the Source Prole is exactly

the same as if that codec was connected directly to the

QOR.32.

In summary, your iQ console sources inputs may be

Figure 7-2: Livewire Outputs

congured from any of the rear panel connectors (4 x

microphone, 16 stereo analog, 2 x AES) or from as many

as 12 incoming Livewire network sources for a total of

up to 34 sources. These network sources may be rede-

ned at any time, facilitating a highly exible system!

Outputs

The Output conguration of your iQ has two sec-

tions: one for Local Outputs (rear panel connectors)

and one for Livewire Outputs. As you might expect, the

Local Outputs are usually congured for feeds to in-stu-

dio devices like CR Monitors, headphone ampliers, etc.

The Livewire Outputs consist of four streams from

your iQ that you wish to deliver to your Livewire net-

work. These four streams will be available to other de-

vices and users on your network.

The following parameters are congured for each of

the four Livewire Outputs:

• Output: Species the audio feed to be delivered to

the network on each of the four Livewire channels.

Selections include:

Page 73

Figure 7-3: GPIO

» Any of the local inputs: 4 microphone, 16 stereo

line or 2 digital AES inputs.

» Any internal generated iQ sources including

PGM-1, 2, 3 or 4, Record, CR Monitor, CR

Headphones, Preview, Talk to CR, Talk to Ex-

ternal, Studio Guest HP, Studio Monitor, Stu-

dio Talent HP, and Auto Backfeed.

» VMix or VMode outputs.

• Name Override: Allows you to specify a name

(16 characters maximum) that will describe this iQ

source to network users. This eld will override the

source name specied in the local Source Prole.

• Channel: The Livewire channel designation. Spec-

ify a unique channel number between 1 and 32,767

that will be used by the Livewire network to identify

your iQ’s network audio.

• Mode: Enables and chooses the stream priority for

this channel. Options are:

» Disabled - the channel is off.

» Live Stereo - Choose this when the audio output

contains live voices or other high-priority audio.

» Standard Stereo - Choose when the audio out-

put consists of pre-recorded music or program-

ming.

GPIO

The QOR.32 has eight physical GPIO ports present-

ed on DB-15 connectors. Often, these ports are associat-

ed with local sources for logic control of devices such as

CD players or for external on/off control of your micro-

phones. In these cases, select the local source to which

you wish to map the GPIO port by using the Logic For

drop down box.

Sometimes, however, you may wish to use GPIO

logic that is associated with some other Livewire net-

work audio source. In this case, you will select Livewire

from the Logic For drop-down. You may then enter

the Livewire channel number directly or by using the

Livewire button on the right side of the screen. When

you click on this button, a pop-up prompts you to select a

Livewire channel from your network; the GPIO port will

then become the logic interface for that Livewire source.

Networking

To deploy iQ in a network setting, you will intercon-

nect the Ethernet switch built into your QOR.32 with

other QOR.32s, or to external Ethernet switches.

The QOR has a zero-conguration, built-for-broad-

cast network switch. It does not require any congura-

tion in order to connect it with other Livewire studios.

If you’re connecting it to another QOR in “daisy-chain”

mode, simply use CAT-6 Ethernet cable to connect one

of the Gigabit ports to a Gigabit port on the other QOR.

If you’re connecting it to a larger network’s core switch,

connect one of the Gigabit QOR ports to a properly con-

gured and approved Core switch.

As a point of clarication, the QOR’s Ethernet switch

differs from an off-the-shelf network “core” switch in

the following ways: The Ethernet switch in a QOR.32 is

always at the “edge” of a large Livewire network. In IT

parlance, this type of switch is actually referred to as an

“edge” switch.

IT Note: If your system employs an Ethernet core switch, the Ethernet core switch must have an IP address numerically lower than any of your iQ units or Ethernet edge switches. This function of the IGMP standard ensures that the multicast querier is handled by the core switch if one exists. The querier function will be passed off transparently to another switch should the core switch fail or be disconnected.

Chapter 7: Networking with iQ • 65

Page 74

Mcng r,

res cn t r n

ny m n.

Chapter 7: Networking with iQ • 66

Page 75

Appendix A:

iQ Speciﬁcations

Microphone Preampliers

Source Impedance: 150 ohms Input Impedance: 4 k ohms minimum, balanced Nominal Level Range: Adjustable, -75 dBu to -20 dBu Input Headroom: >20 dB above nominal input Output Level: +4 dBu, nominal

Analog Line Inputs

Input Impedance: 20 k Ohms Nominal Level Range: Selectable, +4 dBu or -10dBv Input Headroom: 20 dB above nominal input

Analog Line Outputs

Output Source Impedance: <50 ohms balanced Output Load Impedance: 600 ohms, minimum Nominal Output Level: +4 dBu Maximum Output Level: +24 dBu

Digital Audio Inputs and Outputs

Reference Level: +4 dBu (-20 dB FSD) Impedance: 110 Ohm, balanced (XLR) Signal For mat: AES-3 (AES/EBU) AES-3 Input Compliance: 24-bit with selectable sample

rate conversion, 20 kHz to 216kHz input sample rate

capable. AES-3 Output Compliance: 24-bit Digital Reference: Internal (network timebase) or external

reference 48 kHz, +/- 2 ppm Internal Sampling Rate: 48 kHz Output Sample Rate: 48 kHz A/D Conversions: 24-bit, Delta-Sigma, 256x oversampling D/A Conversions: 24-bit, Delta-Sigma, 256x oversampling Latency <3 ms, mic in to monitor out, including network

and processor loop

Crosstalk Isolation, Stereo Separation and CMRR

Analog Line channel to channel isolation: 90 dB isolation

minimum, 20 Hz to 20 kHz

Microphone channel to channel isolation: 80 dB isolation

minimum, 20 Hz to 20 kHz

Analog Line Ster eo separation: 85 dB isolation minimum,

20Hz to 20 kHz Analog Line Input CMRR: >50 dB, 20 Hz to 20 kHz Microphone Input CMRR: >50 dB, 20 Hz to 20 kHz

Audio Processing

Mic Equalizer (applicable to up to 6 faders) Frequency Bands: 20Hz to 320Hz, 125Hz to 2KHz, 1.25KHz

to 20KHz. Cut/Boost range on each band: -25dB to +15dB. Q-factor: Automatic - bandwidth varies based on amount of

cut or boost.

Power Supply AC Input, QOR.32 with iQ Console

Auto-sensing supply, 90VAC to 240VAC, 50 Hz to 60 Hz,

IEC receptacle, internal fuse Power consumption: 100 Watts

Operating Temperatures

-10 degrees C to +40 degrees C, <90% humidity, no con-

densation

Dimensions (HxWxD) and Weight

QOR.32: 7 x 19 x 15 inches (4RU), 15 pounds

See the gures that follow for detailed dimensions of iQ

frames.

Frequency Response

Any input to any output: +0.5 / -0.5 dB, 20 Hz to 20 kHz

Dynamic Range

Analog Input to Analog Output: 102 dB referenced to 0

dBFS, 105 dB “A” weighted to 0 dBFS

Analog Input to Digital Output: 105 dB referenced to 0

dBFS

Digital Input to Analog Output: 103 dB referenced to 0

dBFS, 106 dB “A” weighted

Digital Input to Digital Output: 125 dB

Equivalent Input Noise

Microphone Pr eamp: -128 dBu, 150 ohm source, reference

-50 dBu input level

Total Harmonic Distortion + Noise

Mic Pre Input to Analog Line Output: <0.005%, 1 kHz, -38

dBu input, +18 dBu output

Analog Input to Analog Output: <0.008%, 1 kHz, +18 dBu

input, +18 dBu output Digital Input to Digital Output: <0.0003%, 1 kHz, -20 dBFS Digital Input to Analog Output: <0.005%, 1 kHz, -6 dBFS

input, +18 dBu output

Appendix A: Specications • 67

Page 76

Table of Inputs and Outputs

Main Outputs Type Comments

Program 1 Stereo Main stereo bus (Usually referred to as Program)

Program 2 Stereo Second stereo bus (Sometimes referred to as Audition)

Program 3 Stereo Third stereo bus (Sometimes referred to as Utilit y)

Program 4 Stereo Fourth stereo bus (Sometimes referred to as Auxiliary)

Program 4 Record Stereo Fourth stereo bus variation (post fader, pre on/off)

Program 4 Phone (internal bus only)

V-Mixer Stereo Stereo Submix - sum of ve stereo sources

V-Mode Stereo Used for proce ssing MONO sour ces and creation of MONO streams

Monitor-related Outputs Typ e Comments

CR Monitor Stereo Control room monitor speakers, source and level controlled by Monitor 1 contr ol

CR Headphone Ster eo Control room (board op) headphone, source and level controlled by headphone

Studio Monitor Stereo Studio monitor speaker s, source and level controlled by Studio Monitor control

Studio Headphone Talent Stereo Studio (talent) headphones, source same as main, xed level output, with

Studio Headphone Guest Stereo Studio (guest) headphones, source same as main, xed level output, no talkback

Preview Stereo Allows the connection and level contr ol of external powered speaker s.

Talk to Exter nal Mono Allows board operator mic to talk to other devices, a logic command is associated

Talk to CR Audio Mono Allows the Talk to CR audio mix to drive an external destination

Stereo Fourth stereo bus variation (pre fader, pre on/off)

control

talkback

Monitor-related Inputs Ty p e Comments

External Preview Input Stereo Allows an external path into the pr eview speakers, a logic command is associated

External Monitor Input 1 Stereo Allows an external source to be monitored by CR or studio selectors

External Monitor Input 2 Stereo Allows an external source to be monitored by CR or studio selectors

Source Inputs Typ e Comments

Microphone Input n Mono Typical installations have 2 microphone sources per studio

Analog Line Input n Stereo Typical installations have 4-8 analog line sources per studio

Digital Line Input n Stereo Typical installations have 2-4 digital line sources per studio

Source-related Outputs Typ e Comments

Feed-to-Source A n Mono Mono mix-minus output feeds the lef t side of a stereo connection. “Talk to...”

Feed-to-Source B n Mono Mono mix-minus output feeds the right side of a stereo connection. “Talk to...”

function enabled.

function disabled.

Appendix A: Specications • 68

Page 77

(482,881)

iQ Main Frame (8 faders + monitor controls)

20.45

(519,331)

19.01

4.38

(111,175)

Appendix A: Specications • 69

Page 78

(462,376)

iQ Telco expansion frame (6 faders + call controller)

18.20

17.25

(438,051)

2.91

(73,963)

Appendix A: Specications • 70

Page 79

(462,376)

iQ button expansion frame (6 faders + programmable keys)

17.25

(438,051)

18.20

2.91

(73,989)

Appendix A: Specications • 71

Page 80

18.20

(462,376)

iQ 8-Fader expansion frame

17.25

(438,051)

2.91

(73,989)

Appendix A: Specications • 72

Page 81

Appendix B: iQ Block Diagrams

POST

OPERATOR

MICROPHONE

SOURCE

Revised: January 2010

MUTE

FADER

PAN

FADER

PRE

FADER

MODE

STEREO

SUM TO LEFT

SUM TO RIGHT

PREVIEW

PGM.1ON

PGM.2

PGM.3

PGM.4

RECORD

PHONE

TALK TO X

Σ PREVIEW

Σ PROGRAM 1

Σ PROGRAM 2

Σ PROGRAM 3

Σ PROGRAM 4

Σ RECORD

Σ PHONE

Σ TALK TO X

Figure B-1 Block Diagram - Operator Microphone

Appendix B: Block DIagrams • 73

Page 82

iQ Block Diagrams

POST

STUDIO GUEST

MICROPHONE

SOURCE

MUTE

FADER

PAN

FADER

PRE

FADER

MODE

STEREO

SUM TO LEFT

SUM TO RIGHT

PREVIEW

PGM.1ON

PGM.2

PGM.3

PGM.4

RECORD

PHONE

TALK TO X

TALK TO CR

Σ PREVIEW

Σ PROGRAM 1

Σ PROGRAM 2

Σ PROGRAM 3

Σ PROGRAM 4

Σ RECORD

Σ PHONE

Σ TALK TO X

Σ TALK TO CR

Revised: January 2010

Appendix B: Block DIagrams • 74

Figure B-2 Block Diagram - Guest Microphone

Page 83

iQ Block Diagrams

LINE

SOURCE

MODE

STEREO

LEFT

RIGHT

SUM L+R

MUTE

FADER PAN

POST

FADER

PRE

FADER

MODE

STEREO

SUM TO LEFT

SUM TO RIGHT

PREVIEW

PGM.1ON

PGM.2

PGM.3

PGM.4

RECORD

PHONE

JOIN TALK TO X

Σ PREVIEW

Σ PROGRAM 1

Σ PROGRAM 2

Σ PROGRAM 3

Σ PROGRAM 4

Σ RECORD

Σ PHONE

Σ TALK TO X

Revised: January 2010

Figure B-3 Block Diagram - Line Source

Appendix B: Block DIagrams • 75

Page 84

iQ Block Diagrams

PHONE

SOURCE

MODE

STEREO

LEFT

RIGHT

SUM L+R

MUTE

FADER PAN

SUM TO LEFT

SUM TO RIGHT

MODE

STEREO

POST

FADER

PGM.1ON

PGM.2

PGM.3

PGM.4

RECORD

PHONE

JOIN TALK TO X

PREVIEW

Σ PREVIEW

PRE

Σ PROGRAM 1

Σ PROGRAM 2

Σ PROGRAM 3

Σ PROGRAM 4

Σ RECORD

Σ PHONE

Σ TALK TO X

FEED TO

MODE

TALK

PHONE

SOURCE

Revised: January 2010

SUM TO LEFT SUM TO RIGHT TALK TO BOTH

Appendix B: Block DIagrams • 76

PGM 1

PGM 2

DIM

PGM 3

PGM 4

PHONE

Figure B-4 Block Diagram - Phone Source

PGM 1 MIX

PGM 2 MIX

PGM 3 MIX

PGM 4 MIX

PHONE MIX

TALK TO X MIX

Page 85

iQ Block Diagrams

CODEC

SOURCE

MODE

STEREO

LEFT

RIGHT

SUM L+R

MUTE

FADER PA N

SUM TO LEFT

SUM TO RIGHT

MODE

STEREO

POST

FADER

PGM.1ON

PGM.2

PGM.3

PGM.4

RECORD

PHONE

JOIN TALK TO X

PREVIEW

Σ PREVIEW

PRE

Σ PROGRAM 1

Σ PROGRAM 2

Σ PROGRAM 3

Σ PROGRAM 4

Σ RECORD

Σ PHONE

Σ TALK TO X

FEED TO

CODEC

SOURCE

Revised: January 2010

MODE

SUM TO LEFT SUM TO RIGHT

TALK LEFT ONLY

TALK

TALK TO CR

PGM 1

PGM 2

DIM

PGM 3

PGM 4

PHONE

Figure B-5 Block Diagram - Codec Source

Σ TALK TO CR

PGM 1 MIX

PGM 2 MIX

PGM 3 MIX

PGM 4 MIX

PHONE MIX

TALK TO X MIX

Appendix B: Block DIagrams • 77

Page 86

iQ Block Diagrams

∑

PGM 1 PGM 1 OUTPUT

PGM 1 METER

PGM 1 MIX

∑

PGM 2 PGM 2 OUTPUT

PGM 2 METER

PGM 2 MIX

∑

PGM 3 PGM 3 OUTPUT

PGM 3 METER

PGM 3 MIX

MONITOR

METER

∑

PGM 4 PGM 4 OUTPUT

PGM 4 MIX

∑

RECORD RECORD OUTPUT

RECORD MIX

∑

PHONE

PHONE MIX

(STEREO)

VMIX1 IN 1

VMIX1 IN 2

VMIX1 IN 3

VMIX1 IN 4

VMIX1 IN 5

INPUT 1

INPUT 2

INPUT 3

INPUT 4

INPUT 5

FADER 1

FADER 2

FADER 3

FADER 4

FADER 5

PGM 1 MIX

PGM 2 MIX

PGM 3 MIX

PGM 4 MIX

VMIX

PGM 1

PGM 2

PGM 3

PGM 4

VMIX

MASTER

Pass Stereo

Mono sum to left only

Mono sum to right only

Combine from left and right

MODE

VMIX OUTPUT

(STEREO)

VMODE OUTPUT

Revised: January 2010

Appendix B: Block DIagrams • 78

Figure B-6 Block Diagram - Master Output

Page 87

iQ Block Diagrams

PGM 1 MIX

PGM 2 MIX

PGM 3 MIX

PGM 4 MIX

EXTERNAL 1

EXTERNAL 2

∑

PREVIEW

EXT PREVIEW

CR: PGM1 STU: PGM1

CR: PGM2 STU: PGM2

CR: PGM3 STU: PGM3

CR: PGM4 STU: PGM4

CR: EXT1 STU: EXT1

CR: EXT2 STU: EXT2

EXTERNAL

PREVIEW IN

CR MON VOLUME

DIM LEVEL

TALK

LEVEL

DIM LEVEL

CR HP

PREVIEW IN CR HP

DIM

TALK

TO CR

TALK

TO CR

DIM

CR MON

PREVIEW

ACTIVE

PREVIEW

IN CR MON

PREVIEW VOLUME

MUTE

CR MON

CR HP

VOLUME

MONITOR METER

MUTE

PREVIEW

CR MONITOR OUTPUT

CR HEADPHONE OUTPUT

PREVIEW OUTPUT

∑

TALK TO CR

∑ TALK TO X

Revised: January 2010

DIM LEVEL

TALK TO X MIX

DIM

STUDIO

TALK TO STUDIO

TALK TO EXTERNAL

STUDIO

VOLUME

Figure B-7 Block Diagram - Monitor Output

MUTE

STUDIO

TALK TO CR OUTPUT

STUDIO GUEST H/P OUTPUT

STUDIO MON OUTPUT

STUDIO TALENT H/P OUTPUT

TALK TO EXT OUT

Appendix B: Block DIagrams • 79

Page 88

 c tes, w sc

ng igtly  t r.

M...  s Er Gr.

Appendix B: Block DIagrams • 80

Page 89

Appendix C: Channel / IP Worksheets

The scalable nature of Axia Livewire audio networks makes it possible to construct systems of any size - from a

single room to an entire multi-studio facility.

Since Livewire components – Audio Nodes, Elements, StudioEngines, PowerStation, iQ, etc. – are connected with

Ethernet, each one requires a unique IP (Internet Protocol) address. IP addresses are four bytes long and are written

in “dotted decimal” form, with each byte represented decimally and separated by a period. For example, in the IP

address 193.32.216.9, the 193 is the value for the rst byte, 32 for the second, etc. Since a byte can hold values from

0 to 255, this is the range for each decimal value. If you run a public network, Host IP addresses are assigned to your

organization by your internet service provider and parceled out to individual host computers by your network admin-

istrator. He may give you this number to be entered manually, or could opt for DHCP (Dynamic Host Conguration

Protocol) to let your computer get the address automatically from a pool. Because Livewire devices are permanently

attached and because it is more desirable to know the IP address attached to a particular node (and perhaps assign

them in some kind of logical pattern), we do not support DHCP for our hardware nodes. Therefore, you will need to

enter an IP address into each node.

Livewire systems can support over 10,000 channels of audio; this necessitates giving each audio source or destina-

tion its own unique identier, called Channel ID numbers.

As you can imagine, keeping track of so many unique IP addresses and Channel ID numbers is a big job. There-

fore, on the next few pages, we’ve provided you with worksheets that you can use to keep track of the numbers you’ve

assigned.

A logical convention that is often followed will link the Livewire channel number to the last octet of the device IP

address. For example, if a node has an IP address of 192.168.1.12, the channel numbers assigned to the 8 sources of

that node might be 1201 through 1208.

For a more detailed explanation of IP addresses, subnet masks and related issues, we highly suggest that you refer

to “Network Engineering For Audio Engineers”, Chapter 8 of our Introduction to Livewire: IP Audio System Design

Reference and Primer.

Appendix D: Worksheets • 81

Page 90

Axia IP Address Assignment Worksheet

IP Address Device Name Location Notes

. . .

Appendix D: Worksheets • 82

Page 91

Axia Audio Channel Assignment Worksheet - SOURCES

Channel ID Number Device Name Device Location Notes

Appendix D: Worksheets • 83

Page 92

Axia Audio Channel Assignment Worksheet - DESTINATIONS

Channel ID Number Device Name Device Location Notes

Appendix D: Worksheets • 84

Page 93

Warranty

Axia Audio Limited Warranty

This Warranty covers “the Products,” which are dened as the various audio equipment, parts, software and acces-

sories manufactured, sold and/or distributed by TLS Corp., d/b/a Axia Audio (hereinafter “Axia Audio”).

With the exception of software-only items, the Products are warranted to be free from defects in material and

workmanship for a period of two (2) years from the date of receipt by the end-user. Software-only items are warranted

to be free from defects in material and workmanship for a period of 90 days from the date of receipt by the end-user.

This warranty is void if the Product is subject to Acts of God, including (without limitation) lightning; improper

installation or misuse, including (without limitation) the failure to use telephone and power line surge protection de-

vices; accident; neglect or damage.

EXCEPT FOR THE ABOVE-STATED WARRANTY, AXIA AUDIO MAKES NO WARRANTIES, EXPRESS

OR IMPLIED (INCLUDING IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PAR-

TICULAR PURPOSE).

In no event will Axia Audio, its employees, agents or authorized dealers be liable for incidental or consequential

damages, or for loss, damage, or expense directly or indirectly arising from the use of any Product or the inability to

use any Product either separately or in combination with other equipment or materials, or from any other cause.

In order to invoke this Warranty, notice of a warranty claim must be received by Axia Audio within the above-

stated warranty period and warranty coverage must be authorized by Axia Audio. If Axia Audio authorizes the perfor-

mance of warranty service, the defective Product must be delivered, shipping prepaid, to: Axia Audio, 1241 Superior

Avenue, Cleveland, Ohio 44114.

Axia Audio at its option will either repair or replace the Product and such action shall be the full extent of Axia

Audio’s obligation under this Warranty. After the Product is repaired or replaced, Axia Audio will return it to the party

that sent the Product and Axia Audio will pay for the cost of shipping.

Axia Audio’s authorized dealers are not authorized to assume for Axia Audio any additional obligations or liabili-

ties in connection with the dealers’ sale of the Products.

Axia Audio’s products are to be used with registered protective interface devices which satisfy regulatory require-

ments in their country of use.

Warranty • 85

Page 94

Axia Audio, a Telos Alliance Company • 1241 Superior Ave. • Cleveland, Ohio, 44114, USA • +1.216.241.7225 • www.AxiaAudio.com