Calrec Apollo Operator's Manual

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Putting Sound in the Picture

APOLLO OPERATOR MANUAL

Digital Broadcast Production Console

V8.1

Calrec Audio Ltd

Nutclough Mill Hebden Bridge West Yorkshire England UK HX7 8EZ

Tel: +44 (0)1422 842159 Fax: +44 (0)1422 845244 Email: enquiries@calrec.com

calrec.com

No part of this manual may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and scanning, for any purpose, without the prior written consent of Calrec Audio Ltd.

Whilst the Company ensures that all details in this document are correct at the time of publication, we reserve the right to alter specifications and equipment without notice. Any changes we make will be reflected in subsequent issues of this document. The latest version will be available upon request. This publication is for International usage.

Calrec Audio Ltd reserve the right to change specifications without notice. E & O.E.

The established policy of Calrec Audio Ltd is to seek improvements to the design, specifications and manufacture of all products. It is not always possible to provide notice outside the company of the alterations that take place continually.

Despite considerable effort to produce up to date information, no literature published by the company nor any other material that may be provided should be regarded as an infallible guide to the specifications available nor does it constitute an offer for sale of any par ticular product.

Apollo, Artemis, Summa, Brio, RP1, Hydra Audio Networking and Bluefin High Density Signal Processing (HDSP) are trade marks of Calrec Audio Ltd. Dolby®E is a registered trade mark of Dolby Laboratories, Inc. All other trade marks are acknowledged.

APOLLO

CONTENTS

Joystick Panel 30 Broadcast Facilities Panel 31 Dual Fader Panel 32 Custom Metering Panel 34

Panel Modes 35

Apply Mode to All Panels 35 Mode Lock 35 User Layout 35 Setting up/Recalling the User Layout 35 Assignable modes 35

Assigning Paths 37

Assigning a path 37 Current Assign and Fader Touch indication shown on meters 37

User Splits 38

Identifying User Split Locations 38 Creating / removing user splits 38

Layers 39

A/B Paths 39 Layers 1-12 39 Using layers 39 Layer Locking 39 Layer Split 39 Turning off the B layer 39

Control Panel Modes 41

Processing 42 Send-Route 43 Output Mode 44 Monitor Mode 45 Wilds Mode 46

Setting Up Wilds mode 46 Selecting Wilds 46 Memorising Wilds 46 Assigning and Clearing 47 Wildable controls 47 Alternate Fader Wilds 47 Setting Up Fader Wilds 48 Memory Isolation 48 Wilds pages 48

Wildable Controls 49 Strips Mode 50

Accessing Strips mode 50 Apply to All Strips 50 Routing display 50 A/B path indicator 51 Changing Strips types 51

Getting Signals into Apollo 53

I/O Boxes & Hydra Patchbays Sample Rate Selection in H2O 54

Consoles at 96kHz 54 I/O and Hydra2 Patchbays at 96kHz 54

Input Source Organisation 55

Filtering the Hydra2 network 55 Boxes at different sample rates 55 Input ports 55 Hydra2 Patchbays 55 Hydra2 Patchbays at different sample rates 55 Port labels 55 Port lists 56 Creating lists 56 Copying and moving ports to lists 56 Removing ports from lists 56 Renaming lists 56 Removing lists 56 Sets 56 Adding ports to sets 57

Allocating Signal Paths to Faders 58

Assigning channels to faders 58 Assigning buses to faders 58 Assigning auxs and tracks to faders in the Tools menu 59 Inserting blank faders 59 Removing a path from a fader 59 Layer locking faders 59 Cloning paths 59 Moving / Swapping paths 60 Copying path settings 60 Warnings and Conflicts 60

Fader Setup Screen 61

Memories from larger consoles 61 Assigning auxs and tracks to faders in the Fader setup screen 61 Remote Production Option 61

Input Types and Patching 62

Ports at different sample rates 62 Searching input sources 62 Searching destinations 62 Channel input / fader views 62 Channel input 2 62 Patching input sources to faders 63 Patching at different sample rates 63 Bulk patching and source views 63

Information 7

Important Information 8 Health and Safety 9 Technical Support 10

Introduction 11

Introduction 12

Bl uefin2 12 Hy dra2 12 Commitment 12 Concord Processors 12 Control Sur face 12 Signal Processing 12 I/O 12 Resilience 12 Po wer 12

Apollo Sample Rate Comparison 13 Changes to Screen Locations in the Main Application from V6.0 14 96kHz Overview for Apollo 15

Control Overview 17

Configuration PC Overview 18

Peripherals 18 Windows login 18 Main application 18 USB Port 18 Installing 3rd party software 18 Power and reset 18 Online Documentation 18

Touch Overview 19

Tou ch/Ta p 19 Multiple touches (Hold and Touch) 19 Swipe 19

Surface Control Overview 20

Rotary controls 20 Buttons 20 Control cell 20 Button cell 20 Strip 20 Rows 20 TFT touchscreen 20

Surface Panel Overview 22

Fader Panel 22 Wild assign panel 25 TFT Panel 28 Monitor Panel 29

4 APOLLO

Digital Broadcast Production Console

Alias mic bus 76 Enabling an alias file 76 Alias patching 76

Tone / Oscillator Controls 77

Oscillator Parameters 77 Tone Idents 78 External Tone 78 Tone Clear 78 Tone Patchable to Output Ports 79 Tone Troubleshooting & FAQs 79

Hydra2 Patchbays 80

HPBs and different sample rates 80 Port Sharing 81 Unpatching 81

Processing Audio 83

Channel Signal Flow 84 EQ and Filters 85 Dynamics 1 87

Processing order 88 Dynamics metering 88 Sidechain EQ 88 About Dynamics Sidechain & EQ 88 Dynamics Links 88

Dynamics 2 90

Dynamics 2 controls 90

Automixer 91

Assigning control 91 Gain reduction metering 91 Adjustment controls 91

Delay 93

Assignable Delay at different sample rates. 93 Individual Assignable Delay 93 Individual Path Delay 93

Delay Settings 94

Global Delay Settings 94

Stereo Width 95 Stereo/Surround Spill 96

Accessing the spill faders 96 Spill faders 96 Current spill panel assignment 96 Nudge 97 Changing the user section 97 Assigning paths on the spill panel 97 Main paths on Monitor/Joystick panel 97

Processing Independence 98

Processing independence 98 EQ independence 98

Dynamics independence 99 Independence status indicators 100

Insert s 101

Patching insert resources to ports 101 Inserts at different sample rates 101 Connecting insert resources to paths 102 Naming insert resources 102 Insert resource lists 102 Creating lists 102 Copying/moving insert resources to lists 103 Removing insert resources from lists 103 Renaming lists 103 Removing lists 103 Insert Order and Sets 103 Insert ON / OFF Control 103

VCA Groups 104

Creating and dissolving VCA groups 104 Group hierarchy 104 Fader status indicators 104 VCA group interrogation 105 Masters and slaves on the same fader 105 Fader level indicator 105 Nulling indicators 105 Preserving balance of slaves at low levels 105

5.1 Surround channels 105 VCA group protection 105 VCA Slaves move with VCA Masters 105

Autofaders 106

Assigning GPI’s to autofaders 107 Assigning autofaders to faders 107 Autofader levels 108 Autofader parameter settings 108 Global Autofader Bypass 108 Default Fader Interaction Mode 109

Routing Audio 111

Buses Overview 112

Setting bus widths 112 Admin protection for Bus widths 112 Buses at different sample rates 112 LtRt / LoRo downmixes 113 Pre-fader Aux send cut options 113

Making a Route 114

Using Assign Mode 114 Accessing Detailed Send Controls 114 Paging Through Buses 114 Using Strips or Wilds Mode 115

Protection against removing multiple destinations 63 Mic Open field 63 Additional port info - Desc & Diag 63 Over-patching, removing & moving 64 Offline patching 64 Sources used in multiple locations 64 Returning outputs to input channels 64 Hydra2 Patchbays 64 HPB’s at different sample rates 64 Alias patching 64 Patching inputs directly to outputs 64 Patching Shortcuts 65 Custom fader labels 66 Ability to Receive External Source Labels via SW-P-08 66 Source Label Hierarchy 66

Input Controls 67

Inputs 1 and 2 67 Mic/Line gain 67 ±6dB coarse gain 67 Input trim 68 Linking Input Trims 68 Ton e 68 Input delay 68 48V 69 Polarity inversion 69 Input balance 69 L>B and R>B 69 M-S 69 SRC 69 Signal flow 69

Replay 70

Adding Paths to the Replay Set 70 Activating Replay 70

Input Port Protection 71

Controlling a Protected Input Por t 71 Loading Shows/Memory/Alias Files 71

Dolby E Decoding 73

Passing signals through decoders 73 Important - sample rate conversion 74 Important - synchronisation 74 Metadata 74 Passing encoded Dolby E 74

Alias Files 75

Editing alias files 75 Aliases at different sample rates 75 Alias groups 76

CALREC Putting Sound in the Picture 5

Panning 116

Multiple Pan Positions per Path 116 C ont ro ls 116

Joystick Panning 117

Accessing the joystick controls 117 Making the joystick controls active 117 Disengaging the joystick 117 Pan display 117 Pan control menu 118 Freezing axes 118

Contribution Mode 119

Accessing Bus Contribution 119 Partial Routing Indication 120 Aux Sends on Faders 121 Access AFL in Contribution Mode 121 Default Send Positions 122 Leaving Contribution Mode 122

Splitting Track Sends 123

Removing sends 123 Partial sends 123

Downmixes 124

Bypassing the downmix faders 124 Pre-fader downmixes 124 Setting downmix defaults 124 Selecting the required downmix default 126 Applying default levels to downmix faders 126

Lo/Ro & Lt/Rt Downmix Encoding 127

Selecting Lt/Rt or Lo/Ro 127

Passing Signals out of Apollo 129

Output Types and Patching 130

Ports at different sample rates 130 Patching 130 Patching at different sample rates 130

Patching Shortcuts 130

HPB’s at different Sample Rates 130 Locking output port patching 130

Output Port Protection 131

Patching to Protected Outputs 131

Output Control 132

Accessing further controls 132 Outputs on Faders 133 Bus Output Delay 133 Output Patching Shortcut 133 Assignable Delay at different sample rates 133

Main Paths on Spill/Monitor and Spill/ Joystick Panels 134

Tone to mains 134 Accessing Spill controls for Main faders 134

Direct Outputs 135

Direct Outputs at different sample rates 135 Assign Direct Outputs from the Surface 135 Assign Direct Outputs from the PC 135 Direct Output Controls 136 Direct Output Delay 136 Direct Output Talkback 136 Direct Output Patching Shortcut 136

Monitoring 137

Monitor Mode 138 Control Room Monitoring 139

Pre-selectors (Favourites) 139 Control Room speaker pre-selectors 139 Changing pre-selector source 139 Control room monitor controls 140 Loudspeaker cut buttons 140 Monitoring for multiple users 140 Monitoring at different sample rates 140

Dedicated Monitor Controls 141 AFL, PFL and Output Listen 142

AFL 142 PFL 142 Output Listen (OPL) 142 Access from faders 142 Access bus AFL, PFL and OPL 142 Access AFL in Contribution Mode 142 Cancel AFL and PFL 143 Move PFL within signal chain 143 Patch AFL/PFL to external monitors 143 Send PFL to the small LS 143 Send PFL to the main monitors 143 AFL and PFL with multiple users 143 Patch AFL, PFL and APFL buses 144 PFL via GPI 144

Headphones 145

Patch the headphone output 145

Miscellaneous Monitor Sources 146

Alter the output source 146 Patch miscellaneous monitor outputs 146

Monitor Functions 147

Monitoring controls 148 APFL controls 148

Surround Monitoring 149 Immersive Monitoring 151

Communications 153

Talkback 154

Live talkback routing 154 Talkback groups 154 Talkback & Reverse Talkback levels 154 Microphone settings 155 Monitoring reverse talkback signals 155 Inhibiting Talkback 155

Mix Minus 156

Why remove a source’s input from its foldback mix? 156 Sending signals to the mix minus bus 156 Assigning a direct output 157 Monitoring a mix minus signal 157

Metering 159

TFT Meters 160

Meter cells 160 Meter Grid Configuration 160 Meter Assignment 161 Meter Scales 161 Meter labels and colours 161 Dynamics meters 162 Peak Sample meters 162 Peak Overload indicators 162 A/B path meters 162 Meter Layout Presets 162

Fader and Dynamics Meter Settings 164

Fader meters 164 Dynamics meters 164

External Meter Outputs 165 Loudness Meters 166

Loudness metering at different sample rates 166 Loudness Metering Modes 166 Controlling Loudness Meters 167

Shows, Memories and Presets 169

Overview 170 Using Shows and Memories 172

Creating a new show 172 Creating shows at different sample rates 173 Opening an existing show 173 Opening Shows at different sample rates 173 Saving / duplicating shows 173 Creating and editing default shows 173 Backing up shows and memories 174 Backup Shows at different sample rates 174

6 APOLLO Digital Broadcast Production Console

Renaming shows 174 Deleting shows 174 Changes to Format of Show Data and Backups 174 Saving user memories 175 Loading user memories 175 Backing up and deleting memories 175 Ordering the memory list 175 Memory load / save without the PC 175 Transferring Shows/Memories between Consoles 175

Memory Sequencing 176

Remote control 176

Memory Isolation 177

Basic path isolation 177 Setting the scope of memory isolation 177 Applying isolation scope to multiple paths 179 Elements available for isolation 179 Output port isolation 180 Improvements to Memory Isolate System 180

Pr es ets 181

Creating a Preset 181 Loading a Preset 181 Editing a Preset 181 Backing Up Presets 182 Restoring Presets 182 Pooled Resources 182

Console Facilities 183

On Air and Rehearse Modes 184

On Air 184 Rehearse 184 Neither mode selected 184

System Reset 185

Fail warning indicator 185 Reset buttons 185

Technician Mode 186

Supervisors, Technicians and Users 186 Accessing Technician Mode 186 Managing technician/supervisor accounts 186 Exiting Technician Mode 186

Synchronisation Sources 187

Synchronisation at different sample rates 187

External Interfacing 189

GP IO 190

Assigning GPIs 190 GPI functions 190 Mon-Spill Panel Customer Switches 190 Assigning GPOs 191 Common Console Functions 191 GPO signal type 191 Test GPO 191

EMBER+ Virtual GPIO 192 Remote Control 193

EMBER 193 CS CP 193 CSCP Per Fader 193

External Monitor / Meter Inputs 194

Configuring external inputs 194 Monitoring / metering externals 194

Mic Open Systems 195

Assigning Inputs to Mic Open Systems 195 Assigning Aliases to Mic Open Systems 196 Assigning Mic Open Systems to GPOs 196 Assigning to CUT/DIM Loud Speakers 196 Mic Open Systems and multi-leg paths 196

Automation Option 197

Spill Automation 197 Editing Suite 197 Redundancy 197 External Machine Control 197 Automatable Controls List 197

Remote Production RP1 Option 198

Function Table for Parameter Control of Remote Paths 198

System Status 199

System status notifications 200 Message types 200 Status messages at different sample rates 200 Clearing messages 200 Surface indication 200 External indication 200 Source Offline indication on a path 201 Intermittent Cable Failures 201

Glossary of Terminology 203

Features by Software Version 209

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Putting Sound in the Picture

APOLLO

INFORMATION

8 APOLLO Digital Broadcast Production Console

IMPORTANT INFORMATION

After Sales Modifications

Please be aware that any modifications other than those made or approved by Calrec Audio Limited or their agents, may invalidate the console’s warranty. This includes changes to cabling provided by Calrec and variations to the recommended installation as detailed in Calrec documentation.

Modifications to this equipment by any party other than Calrec Audio Limited may invalidate EMC and safety features designed into this equipment. Calrec Audio Limited can not be liable for any legal proceedings or problems that may arise relating to such modifications.

If in doubt, please contact Calrec Audio Limited for guidance prior to commencing any modification work.

Installation

In many installations the AC power connectors will not be readily accessible, effectively making the equipment permanently connected. The installation should be carried out in accordance with all applicable installation rules and regulations.

Service Personnel

The AC power disconnect devices are the 2 x IEC (IEC60320-1 C13/C14) couplers located at the rear of each unit. WARNING: The apparatus has a dual power system. It is essential that BOTH AC power IEC couplers are disconnected to prevent exposure to hazardous voltage within the unit.

Third Party Equipment

Integrating third party equipment into a Calrec system may compromise the product's ability to comply with the radiated emission limits set in the EMC (Electro Magnetic Compatibility) standard EN55022.

Calrec Audio Limited can not be responsible for any non-conformities due to use of third party equipment. If in doubt, please contact Calrec Audio Limited for guidance prior to integrating any third party equipment.

ESD (Static) Handling Procedures

In its completed form, this equipment has been designed to have a high level of immunity to static discharges. However, when handling individual boards and modules, many highly static sensitive parts are exposed. In order to protect these devices from damage and to protect your warranty, please observe static handling procedures, for example, use an appropriately grounded anti-static wrist band. Calrec will supply an electrostatic cord and wrist strap with all of its digital products.

All modules and cards should be returned to Calrec Audio Limited in anti-static wrapping. Calrec Audio Limited can supply these items upon request, should you require assistance.

This applies particularly to digital products due to the types of devices and very small geometries used in their fabrication, analogue parts can however still be affected.

RoHS Legislation

In order to comply with European RoHS (Reduction of Hazardous Substances) legislation, Calrec PCB and cable assemblies are produced with lead-free (tin/copper/silver) solder instead of tin/ lead solder. See Fig 1.

In the unlikely event of a customer having to carry out any re-soldering on Apollo or Hydra2 hardware, it is imperative that lead-free solder is used; contaminating lead-free solder with leaded solder is likely to have an adverse effect on the longterm reliability of the product.

Circuit boards assembled with lead-free solder can be identified (in accordance with IPC/JEDEC standards) by a small oval logo (see Fig 2) on the top-side of the circuit board near the PCB reference number (8xx-xxx). The same logo is used on the connector hoods of soldered cable assemblies.

If in doubt, please check with a Calrec customer support engineer before carrying out any form of re-soldering.

ISO 9001 and RAB Registered

Calrec Audio Ltd has been issued the ISO9001: 2008 standard by the Governing Board of ISOQAR.

The award, for both UKAS (Fig 3) and RAB (Fig 4) registration, is the most comprehensive of the ISO9000 international standards. Granted in recognition of excellence across design, development, manufacture and aftersales support, the certification follows a rigorous and thorough review of Calrec’s internal and external communication and business procedures.

FIG 1 - LEAD FREE

Pb-Free

Lead

Free

FIG 2 - LEAD FREE STICKER

FIG 3 - UKAS REGISTRATION

FIG 4 - RAB REGISTRATION

CALREC Putting Sound in the Picture 9

HEALTH AND SAFETY

Important Safety Instructions:

• Read these instructions.

• Keep these instructions.

• Heed all warnings.

• Follow all instructions.

• Do not use this apparatus near water.

• Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

• Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

• Protect the power cord from being walked on or pinched particularly at the plugs, convenience receptacles, and the point where they exit from the apparatus.

• Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/ apparatus combination to avoid injury from tip-over.

• Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operator normally, or has been dropped.

• Warning: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

• Not intended for outdoor use.

• This equipment must be EARTHED.

• Before starting any servicing operation, equipment must be isolated from the AC power supply. The disconnect devices are the 2 x IEC connectors (IEC 60320-1 C13/C14 couplers).

• Do not allow ventilation slots to be blocked.

• Do not leave the equipment powered up with the dust cover fitted.

Cleaning

For cleaning the front panels of the equipment we recommend using a soft anti-static cloth, lightly dampened with water if required.

Explanation of Warning Symbols

Triangular warning symbols contain a black symbol on a yellow background, surrounded by a black border.

The lightning flash with arrow head symbol within an equilateral triangle, as shown on this page, is intended to alert the user to the presence of dangerous voltages and energy levels within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock or injury.

The exclamation mark within an equilateral triangle, as shown on this page, is intended to prompt the user to refer to important operating or maintenance instructions in the documentation supplied with the product. (See Figs 5 & 6)

Earthing

This is a Class I product. An Earth connection MUST be provided in each AC power cord.

The Earth Bolt connection at the rear of the console should be connected to Earth using Earth cable at least 6mm

in cross

section (10 AWG).

Lithium Battery Replacement

Caution: Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type. Batteries must not be exposed to excessive heat such as sunshine, fire or the like

This device complies with part 15 of the FCC Rules. Operation is subject to the following two conditions:

1. This device may not cause harmful interference

2. This device must accept any interference received, including interference that may cause undesired operation.

FIG 5 - DANGEROUS VOLTAGES

FIG 6 - IMPORTANT INSTRUCTIONS

10 APOLLO Digital Broadcast Production Console

Information

TECHNICAL SUPPORT

Should you require any technical assistance with your Calrec product then please contact your regional Calrec distributor. Customers within the UK or Ireland should contact Calrec directly.

For a complete list of worldwide distributors by region, go to

www.calrec.com or contact us for

more information.

For pre-delivery technical enquiries, UK and Ireland customers should contact the Calrec project manager assigned to their order. Post delivery, the Calrec Customer Support team will take care of your technical enquiries.

Our UK customer support team work closely with our global distributor network to provide the highest level of after sales support. Your distributor should be your first point of contact and will often be able to provide an instant solution, be it technical advice, spares or a site visit by an engineer.

Calrec UK customer support and our global technical team provide free of charge technical support and advice by phone or email to all customers.

Once your console is installed we can provide an engineer on site to carry out system commissioning.

Commissioning ensures the equipment is correctly installed and fully functioning before it goes into use.

During commissioning, our engineers can also help and advise with configuration and setup.

Calrec after sales support includes:

• Free of charge comprehensive technical advice and support by phone and email.

• Software and hardware upgrades.

• Repairs.

• Quick supply of replacement or loan hardware in the event of a failure.

• Providing export documentation for the return of faulty parts.

• On site commissioning visits.

• On site service and health check visits.

• Emergency engineer visits.

• On site on-air support, for complete peace of mind - providing operational guidance, and technical engineering support for new installations or high profile events.

• Operational training.

• Maintenance / technical training.

• Supply of replacement components.

• Supply of documentation.

Service contracts

We offer a range service contracts to our UK and Ireland customers, offering 24/7 telephone support, regular health checks and extended warranty amongst other benefits. Please contact our customer support team for more information on service contracts.

Product Warranty

A full list of our conditions & warranties relating to Goods & Services is contained in the Company’s standard Terms and Conditions. A copy of this is available on request.

Repairs

If you need to return goods to Calrec, for whatever reason, please contact your regional distributor or Calrec customer support beforehand for guidance, as well as to log the details of the problem and receive a reference number. For customers outside the UK and Ireland, shipping via the distributor saves customers from dealing with exportation paperwork. If there is a need to send direct to Calrec, contact us beforehand to log the incoming repair and for assistance with exportation documents.

Standard of Service

Ensuring the highest standards is a priority, if you have any comments on the level of service, product quality or documentation offered to you by Calrec, please contact the Calrec Customer Support team in the UK who will endeavour to address the issues. Calrec welcomes all customer feedback.

For feedback specific to this document, please contact enquiries@calrec.com.

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Putting Sound in the Picture

APOLLO

INTRODUCTION

Introduction

12 APOLLO

Digital Broadcast Production Console

INTRODUCTION

Apollo is a hugely flexible and scalable large format digital audio console designed to withstand the most critical broadcast production and live environments.

Apollo expands on the success of the Alpha / Sigma / Omega / Zeta product range, employing the same operational methodology and expanding upon it to encompass the powerful feature set required for modern broadcasting.

Control panels can switch mode on the fly, allowing for all controls to be quick and close to hand, irrespective of the operator’s position and allowing each user their own preference of control layout. User splits and independent monitoring allow for multiple operators to work on the same surface without impacting upon each other. Comprehensive, flexible monitoring and metering ensure operator awareness and quick reaction over all aspects of the most complex productions.

Bluefin2

At the heart of the design is a powerful Bluefin2 digital signal processing engine. Calrec’s award winning Bluefin DSP was first launched in 2006 allowing the design of consoles with very high channel counts contained on a single card, providing very efficient, reliable and powerful systems that can meet the ever increasing demands of modern broadcasting.

The second generation of Bluefin is even more powerful and future proof. As well as high channel counts, amongst other benefits it provides comprehensive EQ, filters and dynamics on all paths, sample delay processing, multiple simultaneous track/IFB sends per path, LT/RT encoding as well as very comprehensive monitoring and metering.

Hydra2

Apollo consoles utilise I/O options from the comprehensive Hydra2 range. Fixed format units and modular I/O card-frames are offered in a wide selection of formats to suit all needs. The Hydra2 system can pass up to 512 channels of 48kHz audio

along with control data and error detection on each copper or fibre connection to the router within the console’s processing rack.

The physical location of I/O units can be selected to minimise external cable runs and setup time. Multiple Apollo/Artemis routers can be networked together, allowing all consoles on a network the ability to use all of the I/O connected.

Standalone router racks without control surfaces can also be connected either to expand the number of I/O ports available or to centralise I/O connectivity.

Commitment

Calrec has a world-wide customer base which includes many of the world’s most prestigious broadcasters and covers the highest profile events. By consistently focusing upon purely broadcast products, Calrec offers consoles with the most comprehensive combination of performance and features. The high level of reliability of all Calrec products, many of which are still in daily use after 20 year’s service, reflects a clear awareness of the critical nature of the operating environment.

This understanding of the real issues of broadcast operations is one of the many reasons why operators and management alike prefer Calrec. Apollo is designed to ensure this level of confidence will continue into the future.

Concord Processors

The 3.0 software release for Apollo and Artemis was huge. So huge, in fact, that it required newer and more capable Concord processors to support all the new functionality. Concord Processors also provide incredible performance improvements to the surface making Apollo and Artemis the most responsive audio mixers available.

To upgrade to software version 3.0 or later, and get access to all the powerful features presented here, surface hardware must be upgraded with Concord Processors.

Control Surface

• Up to 160 standard or dual physical motorised path faders.

• 12 dual layers of faders for flexibility in organizing path layout.

• Optional dual in-line fader panels providing simultaneous physical access to A and B sub-layers.

• Flexible control layout to suit each user’s preference.

• Very comprehensive and configurable monitoring and metering.

• User splits allowing for multiple operators to work independently.

Signal Processing

• 6 full bands of parametric EQ / filters on each channel, group and main path.

• 2 x compressor / limiters, 1 x expander / gate, and sidechain EQ / filters on each channel, group and main path.

• 4 independent simultaneous post fader, pre fader or pre EQ track / IFB sends per channel / group path.

• Up to 4 direct output / mix-minus sends per path.

• Up to 2.73 seconds of path delay per path.

I/O

• Integral 8192x8192 router with up to 512 audio channels per Hydra2 port. Fully integrable with any Hydra2 network.

• Extensive range of Hydra2 audio I/O & GPIO available.

• Copper or fibre connectivity.

Resilience

• Independent DSP, routing and control processing.

• Comprehensive hardware and data path redundancy.

• Fully hot-pluggable and self initializing components.

• Independent of system PC interface.

Power

• Distributed PSU system – no heavy duty power cables.

• Power Over Ethernet technologies for simple internal distribution.

• Low power consumption and heat generation.

CALREC Putting Sound in the Picture 13

SIGNAL PROCESSING AT 48KHZ AND 96KHZ

Apollo Sample Rate @ 48kHz Sample Rate @ 96kHz

Input Channels

1020 510

Main Output Buses and LtRt outputs

Up to 16 from Main/Group

pool of 128 mono legs

16 LtRt outputs

Up to 8 from Main/Group

pool of 64 mono legs

Up to 8 LtRt outputs

Audio Group Buses

Up to 48 from Main/Group

pool of 128 mono legs

Up to 24 from Main/Group

pool of 64 mono legs

Track Output Buses

96 48

Aux Output Buses

Up to 48 mono / stereo from

pool of 48 mono legs

Up to 24 mono / stereo from

pool of 24 mono legs

Direct / Mix-Minus Outputs

Up to 4 sends per path from

pool of 512 mono legs

Up to 4 sends per path from

pool of 256 mono legs

Insert Send & Returns

Pool of 256 mono legs Pool of 128 mono legs

Input Delay

Up to 2.73s per input from pool

of 256 mono legs

Up to 2.73s per input from pool

of 128 mono legs

Output Delay

Up to 2.73s per output from

pool of 256 mono legs

Up to 2.73s per input from pool

of 128 mono legs

6 full bands of parametric EQ

on each channel, group & main

path

6 full bands of parametric EQ

on each channel, group & main

path

Dynamics

2 x compressor / limiter & 1

x expander / gate on each

channel, group & main path

2 x compressor / limiter & 1

x expander / gate on each

channel, group & main path

ROUTER

Apollo Sample Rate @ 48kHz Sample Rate @ 96kHz

Integral Router

8192x8192

4096x4096 (minimum)

1 x 96 kHz route = 2 x 48 kHz

routes

Hydra2 ports

16 / 32 16/32

Audio Channels per Port

Up to 512 Up to 256

APOLLO SAMPLE RATE COMPARISON

Introduction

14 APOLLO

Digital Broadcast Production Console

CHANGES TO SCREEN LOCATIONS IN THE MAIN APPLICATION FROM V6.0

For a long time, the Apollo and Artemis main application has grouped functions under the top-level menu items “Other Options” and “Fixed Options”.

These titles have been changed to “Show Settings” and “System Settings” respectively. In the screens contained under each of these top-level menus some screens have been moved and in some cases renamed to make them easier to find, and to make it clearer where the data is stored and how it changes.

The “Show Settings” area contains only settings that are stored and recalled at show level.

The System Settings” area contains the remaining functions that are stored at system level, and do not change with shows.

The table in Fig 1 shows the Old and New names and locations of the various screens for reference purposes before and after the V6.0 release.

Misc/Default Settings General Settings

Inserts Setup moved to System Settings

Meter Setup Meter Layout

Mon/Mtr Ext I/P moved to System Settings

User Split User Split

Down Mix Down Mix

Ext Control Ext Control

External Inputs (from Other Options)

(was Mon/Mtr Ext I/P)

Mon TB MTR Patch Fixed I/O

Inserts Setup (from Other Options)

LAN Config (for 2015 cores only)

Surface Illum Surface Illum

Surface Layout Surface Layout

Sync Sync

TX/REH TX/REH

FIG 1 - SCREEN LOCATION AND NAME CHANGES IN V6.0 ONWARDS

Pre V6.0 Post V6.0

CALREC Putting Sound in the Picture 15

96KHZ OVERVIEW FOR APOLLO

With v8.0, Apollo consoles can now work at 96kHz sampling frequency (sample rate).

The following list is a quick overview of the impact of running Apollo consoles at 96kHz:-

The consoles can switch between 48kHz & 96kHz working as required.

Consoles switch sampling frequency by loading a show at the required sample rate built from a template at that rate.

The numbers of channels and buses are reduced at 96kHz but the numbers at 48kHz are the same as before.

There is no reduction in the numbers of monitor inputs and outputs at 96kHz.

I/O boxes can be set to 48kHz or 96kHz, or to follow the sample rate of a specific console, via H2O.

The Hydra2 network supports 48kHz and 96kHz consoles and I/O boxes simultaneously.

Hydra2 runs at 48kHz irrespective of whether the consoles and I/O boxes are running at 96kHz or not. It simply uses 2 samples per 96kHz signal.

Because Hydra2 always runs at 48kHz, the system will still require a 48kHz sync (if using its AES3 & Wordclock inputs) even if all consoles and I/O are at 96kHz.

The console patching screens and required list indicate which ports, HPB, aliases, or boxes are at a different sample rate to the desk. These ports etc can be patched (except for System level patches) but will not work until the sample rates are matched.

The H2O patching screens filter the ports visible by sample rate, as it can make patches at either rate.

Consoles cannot successfully make port to port patches (including via aliases) for I/O that is at a different sample rate to the desk. Note these patches can be made in H2O and by SW-P-08 and will work if patched there.

System Status messages are produced for I/O boxes & HPB that are in the required list but are not set to the same sample rate as the desk.

An I/O box can run at 48kHz or 96kHz irrespective of which rack it is plugged into. If a console is running at 48kHz, an I/O box plugged into that rack could be running at 96kHz with another console.

Fixed format 1U MADI boxes do not support 96kHz. They are shown offline when the box is at 96kHz.

SDI de-embedder modules do not support 96kHz on the SDI stream. They are shown offline when the box is at 96kHz.

SDI embedder modules do not support 96kHz on the SDI stream. They are shown offline when the box is at 96kHz.

For the following, at 96kHz the Apollo consoles have half the numbers as at 48kHz for each desk/pack size:

• Channels.

• Mains & LtRt processes.

• Groups.

• Main/Group buses pool.

• Auxes & aux buses pool.

• Tracks & track buses pool.

• Inserts pool.

• Direct Outputs pool.

• Input Delay pool (but each element is still 2.73 sec).

• Output Delay pool (but each element is still 2.73 sec).

• Loudness meters.

For the following, at 96kHz the Apollo consoles have the same numbers as at 48kHz for each desk/pack size:

• Mix Minus bus.

• 4 Track Sends per path.

• 4 Direct Outputs per path.

• Path Delay of 2.73 sec per path.

• EQ & Dynamics per path.

• Dynamics Links.

• Automixers.

• Main Output Downmixes/Main.

• Autofaders.

• External Monitor Inputs.

• Monitor systems and outputs (pre & LS), including Mon 1 Insert.

• PFL & AFL systems including Side-chain listen, APFL and outputs (pre & LS).

• 4 Meter Selectors and outputs.

• Assignable Meter Processes.

• TB & RTB.

• Tone/oscillator including interrupts, external inputs and outputs.

16 APOLLO Digital Broadcast Production Console

Introduction

calrec.com

Putting Sound in the Picture

APOLLO

CONTROL OVERVIEW

Control Overview

18 APOLLO

Digital Broadcast Production Console

CONFIGURATION PC OVERVIEW

The configuration PC is mounted inside the surface. The only access available to the PC is through the keyboard, trackball, touchscreen display and USB port on the console upstand.

No control, audio or router processing is carried out by the system PC. Processing is carried out on dedicated independent hardware located in the processing rack. The system PC provides a control interface for setup and configuration. The control surface itself, as well as audio and routing systems will all boot and continue to run irrespective of whether or not the PC is active or powered.

Peripherals

A standard control surface will have the PC’s touchscreen monitor mounted to an adjustable arm on the right hand side. A keyboard with trackball is normally located in a retractable tray mounted to the underside of the surface at the right hand side. As an option, consoles can be built with the PC peripherals on the left-hand side. Consoles are also often ordered with PC monitor screens and keyboards on both sides of the surface. In these cases only one of the pair will be connected to the system PC, the other set is typically used to control 3rd party equipment such as playout systems.

Windows login

The default user login for operators is ‘calrec’ and requires no password.

Main application

The main purpose of the configuration PC is to run the main application, which provides access to many important console options.

The main application is launched automatically when the configuration PC is booted. If the application has been closed, it can be re-loaded from the Start menu.

Fig 1 shows the layout of the main application. Along the bottom edge of the application is the main menu which

contains buttons for each of the main sections of the application. When this document instructs you to go to the

>MEM section, for example, it is the

equivalent of saying: ‘touch the MEM button in the main application main menu’.

Once a certain section has been selected, a list of available screens will appear vertically along the left hand edge of the application. Touching one of these buttons will update the main application to display the relevant screen. When this document instructs you to go to a certain screen, it is referring to touching the relevant button on this list, down the left hand side of the screen.

USB Port

A USB port linked to the configuration PC is available in the broadcast facilities panel located in the TFT meter upstand. This can be used for backing up and restoring memories or settings from the console. It is designed for portable flash based USB memory devices and as such may not provide power for larger USB hard drives.

FIG 1 - MAIN APPLICATION

Installing 3rd party software

Although not relied upon for console operation, the system PC should be considered as broadcast equipment. Installation of software unauthorised by Calrec may impact on the PC’s performance and as such can invalidate the warranty.

Power and reset

The system PC should automatically boot u p w h e n t h e c on t r o l s u r f a c e i s p ow e r e d . If the PC screen is dark and does not wake up when the trackball is moved, check the AC power to the back of the monitor and that it has not been t u r n e d o f f b y p r e s s i n g i t s ’ p o w e r s w i t c h . A simple way to check if the PC is powered is to press Caps Lock on the keyboard and check if the Caps Lock LED on the keyboard responds. A reset switch for the PC is located behind the keyboard, at the rear left-hand side. If the PC has been shutdown but is still powered. Pressing the reset switch should reboot it.

Online Documentation

Electronic versions of all documentation may be accessed on the configuration PC.

CALREC Putting Sound in the Picture 19

TOUCH OVERVIEW

Apollo makes great use of touch technologies to provide direct interaction with on screen controls.

The configuration display, surface displays and wild assign TFTs are all touch sensitive and should be used with a finger rather than any other pointing device (such as the top end of a pen) which may damage the surface of the displays. Certain aspects of the software have been designed to be accessed primarily through touch and so some terms should be defined to aid in reading this document.

Touch/Tap

The main interaction between operator and touch control is the touch (or tap). The operator should touch the desired control on the display then immediately release without changing position. See Fig 1.

Multiple touches (Hold and Touch)

In some cases it is necessary to combine touch controls to achieve the desired result. One control will normally be held w h i c h t o u c h i n g o t h er c o n t r o l s . F i g 2 demonstrates this process. This is normally only required between control cell displays on the surface. Combinations between configuration PC and the surface will not be used.

Swipe

The swipe motion may be used to scroll through a list of items or page through a number of views. Touch the control and straight away swipe in the required direction. Remove the at the end of the swipe. This motion is shown in Fig 3.

FIG 3 - SWIPE

Touch the display, swipe a nger to

another position then release

FIG 1 - TOUCH/TAP

Touch the screen momentarily and then release in the same position

FIG 2 - HOLD AND TOUCH

Touch an area of a mini-TFT and hold while touching another area

Hold

Touch

Release

Control Overview

20 APOLLO

Digital Broadcast Production Console

SURFACE CONTROL OVERVIEW

Apollo works the way you want to. A variety of operating modes and different ways to display information ensure that every operator will feel at home behind the console.

There are a range of different panels available that make up the Apollo surface. These are detailed in the ‘Surface Panel Overview’ section of this document. It is first important to understand the different control types which make up these panels. The main control types on the surface are as follows:

Rotary controls

The rotary controls on the surface will change colour to reflect the type of control they are currently assigned to. For example, when assigned to an Aux control they would be coloured green.

Buttons

The small square and triangular buttons, like the rotary controls, change colour when active to reflect the currently assigned control. Where there are buttons that relate to the same control as displayed on a control cell display, the buttons will be used for control. The control cell displays are not touch sensitive when a physical button is present.

Control cell

The two interface elements described above are combined with a display to make up control cells. One of these cells is shown in Fig 1.

The upper rotary control and button control the parameters shown in the upper half of th e c ontrol cel l d is play. The lower rotary control and button control the parameter shown in the lower area of the control cell display.

Controls that are not active (e.g pan controls when assigned to a surround bus) are hidden; the rotary controls, buttons and control cell display sections will not be lit.

Button cell

In a button cell, as shown in Fig 2, the buttons map directly to the nearest control cell display. Each graphic display is split into up to four functions. Buttons above and below point to the functions on the displays that they control. Some functions are shown the full width of the display. In these cases, pressing either of the two buttons will activate the function.

A strip across the centre of a button cell is sometimes used as a label. Labels sometimes span across more than one display and sometimes a cell may have a label but no associated button functions.

Strip

A Strip is a collection of controls that are specific to each fader on the surface. For example, each fader control cell always contains controls that affect the fader directly below it. The control cells and TFT on the wild assign panel may also be arranged in this way dependent on the wild assign panel mode.

Rows

Certain horizontal sets of controls are used together to group similar controls. These are known as rows. See Fig 3. Each row on the surface has a name, such as ‘Functions row’ or ‘Modes row’. The rows are identified on the next page.

The Layers row and Modes row always span the width of the panel and contain controls that do not relate directly to a specific fader.

TFT touchscreen

Various control parameters in the different panel modes are changed using buttons located on the TFT touchscreen of the Wild Assign panel.

If a touchscreen is found to be inaccurate, it can be calibrated - Press the Tools button in the right-hand button-cell of the modes row. This replaces the fader layer select buttons with setup functions. Press the Misc button, then select CAL TFT from the row of button cells above. From a normal seating position, press the TFT touchscreen in the centre of the targets presented. Once complete, change the panel mode to refresh the display.

FIG 1 - CONTROL CELL

FIG 2 - BUTTON CELL

CALREC Putting Sound in the Picture 21

FIG 3 - ROWS

Control Overview

22 APOLLO

Digital Broadcast Production Console

Fader Panel

Each fader panel consists of 8 fader strips at a fader pitch of 30 mm. Each fader strip contains an A/B assign section, a button cell and a control cell. A blank fader panel is shown in Fig 1.

SURFACE PANEL OVERVIEW

FIG 1 - FADER PANEL

CALREC Putting Sound in the Picture 23

The main control features are highlighted in Fig 2. All these controls are normally relevant to the highlighted fader and are repeated eight times across the panel.

FIG 2 - FADER PANEL CONTROLS

PEAK

10020

START

STRIP

FDR

CUT/ON

AUTOM

EXT

CUT

STRIP

FDR

CUT/ON

AUTOM

EXT

CUT

STRIP

FDR

CUT/ON

AUTOM

EXT

CUT

STRIP

FDR

CUT/ON

AUTOM

EXT

CUT

STRIP

FDR

CUT/ON

AUTOM

EXT

CUT

STRIP

FDR

CUT/ON

AUTOM

EXT

CUT

STRIP

FDR

CUT/ON

AUTOM

EXT

CUT

STRIP

FDR

CUT/ON

AUTOM

EXT

CUT

PEAK

10020

START

PEAK

10020

START

PEAK

10020

START

PEAK

10020

START

PEAK

10020

START

PEAK

10020

START

PEAK

AFL

PFL

AFL

PFL

AFL

PFL

AFL

PFL

AFL

PFL

AFL

PFL

AFL

PFL

AFL

PFL

10020

START

8 12 16 20 24 42

DYN 2

DYN 1

O/P 1

PATH

8 12 16 20 24 42

DYN 2

DYN 1

O/P 1

PATH

8 12 16 20 24 42

DYN 2

DYN 1

O/P 1

PATH

4 8 12 16 20 24 42

DYN 2

DYN 1

O/P 1

PATH

8 12 16 20 24 42

DYN 2

DYN 1

O/P 1

PATH

8 12 16 20 24 42

DYN 2

DYN 1

O/P 1

PATH

8 12 16 20 24 42

DYN 2

DYN 1

O/P 1

PATH

8 12 16 20 24 42

DYN 2

DYN 1

O/P 1

PATH

MR SL

CUT CUT CUT

CUT

CUT CUT CUT

CUT

Layer B assign key

Layer A assign key

96x96 pixel TFT display

Fader ‘TRIM’ offset scale

PFL overpress at end of fader travel

PFL key (latching or momentary)

Fader bargraph meter sources

Fader open indicator

Fader nulling LEDs

Peak indicator at -2dBFS

Cut/On key

AFL key (latching or momentary)

Path width indicator with variable backlight colour

Fader bargraph meter showing input signal level

Layer A/B indicators and path labels

Illuminating push button

Button Cell Provides quick access to common channel features

Illuminating rotary control knob with integral push switch

Control Cell Provides access to two Wild controls for each fader

Control Overview

24 APOLLO

Digital Broadcast Production Console

There are two, eight wide control cell rows that span the width of the panel which are highlighted in Fig 3.

The Modes row is used to control the mode of the wild assign panel above it.

The Layers row is used for layer switching and accessing certain other panel functions.

The Functions row changes between displaying controls relevant to each fader (as shown in the previous figure), or a range of setup and configuration options which do not directly relate to any one fader.

It is an important to make the distinction that unlike other displays and controls on the panel, these rows are not linked to a single fader.

FIG 3 - FADER PANEL ROWS

CALREC Putting Sound in the Picture 25

Wild assign panel

Each wild assign panel consists of 24 identical dual rotary control cells and a row of 8 identical quad button control cells as shown in Fig 4.

The bottom row of the wild assign panel is used to provide additional switch controls for the assigned channel or page selection for the ‘rotary’ control cells above.

The control cells will display different controls and be arranged in different ways depending on the mode that the panel is operating in.

The panel could be in Assign, Outputs, Monitor, Strips or Wilds mode.

Assign mode makes the panel function as an assignable panel. In much the same way as previous Calrec assignable consoles, such as Alpha, a range of parameters are displayed that reflect the values of, and allow control over, the currently assigned path.

Strips or Wilds mode splits the panel up into eight vertical strips effectively providing six additional strips controls per fader.

Outputs and Monitor modes provide control over output and monitor functions.

A TFT touchscreen located at the top of the panel is used to display and interact with control settings.

FIG 4 - WILD ASSIGN PANEL

Control Overview

26 APOLLO

Digital Broadcast Production Console

Each type of control on the wild assign panel is detailed in Fig 5.

FIG 5 - WILD ASSIGN PANEL CONTROLS

CALREC Putting Sound in the Picture 27

Fig 6 highlights the quad button row at the bottom of the wild assign panel. This row is known as the wild assign row. In Assign, Outputs or Monitor mode this functions as a panel wide row working with various controls in the control cells and mini TFTs above.

In Strips or Wilds mode, the panel is divided up into eight vertical strips. In this case the control cell displays in the Wild Assign row each relate to a separate strip of controls per fader.

FIG 6 - WILD ASSIGN PANEL ROWS

Control Overview

28 APOLLO

Digital Broadcast Production Console

TFT Panel

This is primarily used to display metering information and is not touch controlled. An example meter layout is shown in Fig 7.

FIG 7 - TFT METER PANEL

CALREC Putting Sound in the Picture 29

Monitor Panel

The monitor panel can act as either a spill controller, downmix controller or a main output controller. These functions are accessed with the four 60mm motorised faders.

Each fader has its own PFL/AFL/CUT controls and a set of A/B assign keys either side of an control cell display.

The panel also contains a subset of the main monitoring controls including the large CR Monitor level knob, small LS trim and changeover, Dim level, AFL and PFL levels and the 4 preselected monitor Hear controls.

At the bottom of this panel are 8 customer illuminating buttons which can be configured to act as general purpose controls or indicators. See Fig 8.

FIG 8 - MONITOR PANEL

Control Overview

30 APOLLO

Digital Broadcast Production Console

Joystick Panel

Like the monitor panel, this panel (see Fig 9) can act as either a spill controller, downmix controller or a main output controller accessed via the four 60mm faders.

Instead of monitor controls, the lower green area of the panel is dedicated to controlling the surround panning facilities of the console with a motorised joystick.

FIG 9 - JOYSTICK PANEL

CALREC Putting Sound in the Picture 31

Broadcast Facilities Panel

The Broadcast Facilities panel is shown in Fig 10.

The top two buttons provide switching and indication for On Air and Rehearse states. The Fail Warning Cancel button acknowledges any failures in the system.

Under these is an APFL indicator which lights if the main monitoring is being overridden by AFL or PFL. This is also used to clear any latched AFL and PFL when pressed.

A Talkback Mic XLR connector is provided on this panel and also a USB connector which allows you to plug in a USB memory stick which can be used to load and store console configurations from the configuration PC in the body of the console.

At the bottom of the panel are the reset switches. Each of these can be pressed together with the Enable button to reset the Surface, DSP module or Control Processor independently.

The Dark button switches on the surface screensaver. This turns off all control cell displays and LEDs and displays a screensaver graphic on the TFT displays. Simply touching any fader or control on the surface will disable the screensaver and switch on all displays. Dark mode does not affect audio.

FIG 10 - BROADCAST FACILITIES PANEL

Control Overview

32 APOLLO

Digital Broadcast Production Console

Dual Fader Panel

The Apollo dual fader panel is shown in Fig 11. This panel is the same size as and can be used in place of - the standard fader panel.

The panel contains eight 100mm and eight 60mm motorised faders with overpress. The functionality of these faders and controls around them are as described in the fader panel section.

The 60mm faders on the dual fader panel take the place of the control cells and button cells which are present on the standard fader panel.

Modes and Layers rows

The Layers row and Modes row from the standard fader panel remain in place but are both situated at the top of the panel as shown in Fig 12. Both rows are touch sensitive as on the standard fader panel.

The controls in the Tools and Layer Tools functions of the standard fader panel are also accessible on the dual fader panel. They are accessed in the same way using controls on the Layers row, but instead of appearing on the button cells of the standard fader panel, the controls appear on the Modes row control cell displays. While accessing these functions, the standard controls of the modes row are inaccessible.

Path access

Where the standard fader panel has two paths available per fader (in each of the 12 layers) using the A and B assign buttons, the dual fader panel associates only one path per fader (in each of the 12 layers). The B paths are presented on the upper 60mm faders and the A paths are presented on the lower 100mm faders. This is the opposite way to the orientation on the standard fader panels.

FIG 11 - DUAL FADER PANEL

CALREC Putting Sound in the Picture 33

The A and B assign buttons assign the paths to any relevant assign modes on the surface, as on the standard fader panel, but the advantage is that both A and B paths are visible and accessible on faders at all times.

The assigned path will have its assign button illuminated blue as on the standard fader panel.

Strips or Wilds mode

When a wild assign panel is located above a dual fader panel and is switched into Strips or Wilds mode, the path which the controls relate to (the active path) is determined by which assign button A or B is selected for each fader. The active path for each fader can be changed by pressing the relevant assign button.

The path label for the active path will take up two thirds of the path label display and will have the relevant assign button illuminated.

Mixing dual and standard fader panels

A surface can be configured with both dual fader panels and standard fader panels. In this situation, the standard fader panels will only have the A layer enabled on the lower assign button so that operation is consistent with the dual fader panels. The B layer will not be accessible on these standard fader panels.

FIG 12 - ROWS

Control Overview

34 APOLLO

Digital Broadcast Production Console

Custom Metering Panel

This panel provides the customer with an area to mount moving coil PPM/VU style meters and/or Vectorscope displays such as the DK MSD600M++ (Fig 13) or the RTW 10800 range (Fig 14).

FIG 13 - DK METERING PANEL

FIG 14 - RTW METERING PANEL

CALREC Putting Sound in the Picture 35

PANEL MODES

Wild assign panels can operate in six different modes, three of which are commonly required. Users often set three panels across the console into each of these modes to make the most commonly used controls all visible at the same time, in the layout of their preference.

The six panel modes available are:

• PROCESSING

• SEND-ROUTE

• BUSES & OUTPUTS (Outputs)

• MONITOR (Monitoring)

• WILDS (customer defined controls)

• STRIPS (in-line controls)

• OFF Each panel-mode area can be set to off if only one instance of each mode on the surface is to be shown.

To set a wild assign panel into one of these modes, touch the desired mode on the modes row shown in Fig 1. This is located at the top of the fader panel, as highlighted in Fig 2. The modes row on a given fader panel sets the mode of the wild assign panel directly above it.

Apply Mode to All Panels

A mode can be applied to all panels in the user section by holding the desired mode button, then pushing the APPLY MODE TO ALL PANELS button.

Mode Lock

A panel may be locked into a certain mode by pressing the MODE LOCK button. The mode buttons on the modes row will be removed and the panel mode will not change when APPLY MODE TO ALL PANELS is used to change the rest of the surface. Press the MODE LOCK button again to unlock.

Fixed layout

FIXED LAYOUT is a fixed arrangement of modes on the surface panels included to allow the user to return to a default layout.

User Layout

User layout is a stored arrangements of modes on the surface panels. The USER LAYOUT button in the lower half of the modes row allows switching to this layout.

An example layout is shown at the top of Fig 3 on the next page. This layout is set up to simulate the same operational concept as a centrally assignable console such as Calrec’s Alpha, Sigma, Omega or Zeta.

This feature is very useful if the arrangement of the surface layout has been altered and the user needs to quickly get back to a known and familiar state. It is also useful to be able to switch between two operational concepts easily. The user could switch between a console full of Strips or Wilds controls and a centrally assignable surface at the touch of a button, and switch back with the same ease.

Setting up/Recalling the User Layout

To set up the User Layout, simply select the modes for each panel on the console in the arrangement that you wish them to appear, then press and hold the USER LAYOUT button. The text will change briefly to USER LAYOUT SAVED to show that the process has been successful. Press the USER LAYOUT button to recall the saved panel mode arrangements.

Assignable modes

The PROCESSING and SEND-ROUTE panel mode are two of the most commonly used modes. Both are assignable control modes, in that they display information for, and can adjust parameters of the currently assigned audio path.

Unless user splits have been put in place for multiple operators, only one audio path is assigned at any given time. The currently assigned path is shown on

FIG 2 - LOCATION OF MODES ROW

FIG 1 - PANEL MODE OPTIONS (SET TO OFF)

the TFT screen in the upstand when displaying either of the two assign modes.

If the currently assigned path is on an active fader layer, it is highlighted by its fader label display & assign button being illuminated blue. The most common way to select an audio path to make it the currently assigned path and the focus of assignable panel modes is by pressing the fader assign button above (A layer) or below (B layer) a fader label display.

The actual controls available in an assignable panel mode may change depending upon the type of audio path currently assigned. For example, mono and stereo paths have different pan controls available. Paths with analogue inputs patched to them have phantom power buttons, whilst paths with digital inputs have sample rate convertor buttons. If a Main output is the currently assigned path, fewer routing options are available than if a channel or group path is assigned.

Control Overview

36 APOLLO

Digital Broadcast Production Console

FIG 3 - EXAMPLE LAYOUTS

CALREC Putting Sound in the Picture 37

Current Assign and Fader Touch indication shown on meters

When an Assign button is pressed the associated meter highlights in a matching colour to the blue Assign button and blue background for the Fader display. This is to further clarify which is the currently assigned path, see Fig 3 Fader 25A below.

In addition when fader knobs are touched the background of the associated upstand meter highlights to indicate those paths, see Fig 3. Fader 27B below right.

To assign either of these paths, press the relevant button above or below the display (above for path A, below for path B).

Note that the positions of the A and B buttons are swapped over if a dual fader panel is included in the surface layout.

ASSIGNING PATHS

An important concept of Calrec consoles is that of assignability.

This allows controls to be shared amongst all paths, reducing physical space requirements and providing quick and familiar access.

When a path is assigned, certain areas of the surface will display and allow control of parameters of that assigned path. For example, any wild assign panels in Assign mode and the surround spill panel will update to reflect values of the currently assigned path. Assigning a different path will alter these displayed values.

Assigning a path

Above each fader is a display and two buttons as shown in Fig. 1 below. The display shows the name of the A and B paths of each fader. The lower section (green) shows the A path and the upper section (yellow) shows the B path. The path that is currently being controlled by the fader takes up a greater percentage of the display area, is coloured with the relevant colour and has the relevant assign button lit.

FIG 1. - ASSIGN BUTTONS

FIG 2. - A/B PATH ASSIGNMENTS

FIG 3. - CURRENT ASSIGNMENT AND FADER TOUCH SHOWN ON METERS

The section of the display showing the assigned path will turn blue to indicate the current assignment. The relevant button will also light up blue as confirmation.

The fader will now control the assigned path as shown in Fig 2 (shown right).

Other areas of the surface that are set up to respond to Assignments will display and control parameters of this selected path.

Control Overview

38 APOLLO

Digital Broadcast Production Console

USER SPLITS

User splits allow the control surface to be sectioned, allowing multiple operators to work without impacting upon each other.

User splits are also often used to separate an extended control surface or sidecar from the main control surface. A maximum of three user splits can be set across the combination of main console and extension/sidecar.

User splits can be placed between control panels to provide separate areas of control for up to three operators. User splits partition faders and the assignable panel modes PROCESSING & SENDROUTE. The assignable panel modes can only affect the currently assigned path within their user area. Each area can have its own currently assigned path. Changing the assigned path within an area does not change or cancel the assigned path or focus of assignable panels in other user areas. Also, changing layers only affects faders within the user area that the change was made from.

If multiple operators require their own monitoring, speakers / headphones can be fed from monitor output 1, monitor output 2 or miscellaneous monitor outputs, and each operator then use the controls relevant to their area. The PFL and AFL listen outputs of the faders within each user are can be selected to feed one of three different APFL bus sets, each of which can be patched to outputs for local monitoring, and the two main monitors can be configured to be interrupted by different APFL sets, allowing each user to be able to listen to their paths without affecting each other’s monitoring. Please refer to Monitoring section for details on configuring monitoring for multiple users. See “Monitoring for multiple users” on

page 140.

FIG 1 - MAIN APPLICATION, SHOW SETTINGS>USER SPLIT SCREEN

Identifying User Split Locations

The location of active user splits is shown on the control surface in the left hand button cell in the Layers Row.

If this display shows ‘USER SPLIT’, the panels to the left are in a different user area to the panel with the indication and the panels to the right. See Fig 2.

FIG 2 - ACTIVE USER SPLIT ON LAYERS ROW

Creating / removing user splits

User splits are managed from the Main Application >Show Settings>User Split screen. See Fig 1. Clicking on the ‘Add User Split’ button above any of the panels allows the choice of users 1, 2 or 3 to be applied to that panel and to those to the right of it. Click the ‘Apply new layout to surface’ button in the top right corner to apply the user split settings on the screen to the control surface, or ‘Revert to current surface layout’ to put it back as it was.

The User split configuration is saved in the Show. No changes are applied to the surface until the ‘Apply new layout to surface’ button is clicked.

Clicking the ‘Reset all to User 1’ button will remove all user splits.

CALREC Putting Sound in the Picture 39

LAYERS

Apollo provides an comprehensive layers feature to aid in organizing and accessing many paths extremely quickly.

Layer selection is performed from the right hand side of the Layers row of any standard control bed panel, as shown right. If the layer select controls are not visible on a particular panel, it is likely to be in Tools or Layer Tools mode - press the Tools/Layer Tools button, or the exit button in the row above to return to the default modes row menu. Fig 1 shows the layout of controls on the Layers Row.

A/B Paths

Each fader provides instant access to two paths. These paths are known as the A and B paths and are described in the Assigning Paths section of this document. To switch all faders to the A or B path use the ALL A or ALL B buttons on the Layers row.

Layers 1-12

There are also 12 layers available on the surface. Each layer contains its own A and B paths. Layers can be switched using the green buttons on the Layers row. The 12 layers are divided into two banks. The first bank contains layers 1-6 and the second contains layers 7-12. The selected bank and selected layer are highlighted.

Using layers

Layers provide a flexible method of organizing paths on the surface. Layer 1, for example, may be configured to contain all main presenter microphones on path A and audience microphones on path B. Layer 2 may contain VT or server audio sources on path A. Switching between layers 1 and 2 provides fast access to both of these organised collections of sources. A path may appear on multiple layers simultaneously.

Layer Locking

A path can be locked to a fader and remain on the surface regardless of the selected layer. To lock a path touch the LAYER TOOLS button on the Layers Row.

On the updated Functions row above, touch and hold the LAYER LOCK button and then tap the assign buttons of any faders which contain paths that are to be locked to the surface. Holding LAYER LOCK and tapping an assign button toggles the lock on and off. See Fig 2.

When a path is locked, a padlock icon will appear in the fader label display to indicate the lock is active.

When a path is unlocked the A/B display will show text to indicate the original layer location of the path as it may not be the currently selected layer. The locked path will still remain in view until a different layer or All A/B selection is made.

Layer Split

The Layers row contains a button entitled LAYER SPLIT. Touching this button on any panel inserts a layer split along the left hand side of that panel. The button will light up as an indication of the split. Any layer changes made to the left of the split will not affect any faders to the right of the split. This applies to All A and All B selections too. Multiple layer splits can be put in place across the surface, each obeying the same rules described above.

Turning off the B layer

The global B layer, which allows each fader to access a B path can be turned off. This is currently a factory set option and Calrec should be contacted for activation.

With this option set, the faders on the surface will only have access to one path per layer and can be accessed using the A layer path assignment buttons.

FIG 1 - LAYERS ROW

FIG 2 - LAYER TOOLS

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APOLLO

CONTROL PANEL MODES

Control Panel Modes

42 APOLLO

Digital Broadcast Production Console

PROCESSING

The Processing mode is actually a set of viewing modes to control the processing of an assignable path, in that it displays information for, and can adjust certain parameters of the currently assigned audio path.

The currently assigned path, and therefore the focus of the control panel is shown on the TFT screen. The controls available in an assignable panel mode may change depending upon the type of audio path which is currently assigned. For example, paths with mic inputs patched have additional gain and power controls, whilst paths with digital inputs have sample rate convertor controls.

The view shown in Fig 1 is known as the Overview mode which gives you access to a combination of critical operational controls. You can adjust EQ gain and frequency for all bands. Tweak the threshold and ratio of a compressor, or the threshold and depth for a gate. Quickly dial in input delay, path delay, or output delay if on a bus. Switch the insert on or off, change stereo path width, disable AutoFaders, and override remote control.

Overview provides the essential controls you need to reach quickly. If you need more detailed control, change to the dedicated EQ, Dynamics 1, Dynamics 2, Delay, or AutoFader views by selecting them from the icon button cells at the bottom of the panel mode area which show a thumbnail representation of each processing function as shown.

Path input controls are coloured red, running down the left hand side of this panel mode with buttons extending into the TFT display above. EQ controls are colour coded teal and spans 7 columns of control cells. Dynamics controls also span 3 control cell columns and are colour coded purple. The remainder of the rotary controls deal with Delay, Stereo Width and Pan. In addition there are a number of switch controls related to Inserts, Autofaders and External Control.

FIG 1 - PROCESSING ASSIGNABLE PANEL OVERVIEW MODE CONTROL LAYOUT

The TFT screen above shows the Equaliser curve with it’s band markers, numerical values and response type, it also shows separate Dynamics 1 & 2

curves with numerical values and gain reduction bargraphs, the AutoFader status diagram with its settings and the current position of the Insert in the audio chain.

CALREC Putting Sound in the Picture 43

FIG 1 - SEND -ROUTE ASSIGNABLE PANEL MODE CONTROL LAYOUTThe Send-Route mode is also an

assignable panel mode, in that it displays information for, and can adjust parameters of the currently assigned audio path.

Like the Processing mode, the currently assigned path, and therefore the focus of the control panel is shown on the TFT screen.

This panel mode allows for the currently assigned path to be routed to the various buses / outputs that are available. The TFT screen provides routing buttons and displays whilst the panel below provides colour coded rotary controls for send levels to applicable outputs, such as Auxs, Track sends and Direct outputs. Pressing down on a rotary encoder highlights that send in the bottom row of controls providing further options such as pre-fader / post fader switching. The last two columns of control cells provide pan controls for positioning of the path’s output. See Fig 1.

SEND-ROUTE

Control Panel Modes

44 APOLLO

Digital Broadcast Production Console

OUTPUT MODE

Outputs mode provides controls for manipulating output paths such as Main outputs, Track outputs, Aux outputs and Groups.

The TFT display provides audio bargraphs for Main and Aux buses. The control cells below are colour coded by output type, providing level controls and cut buttons if applicable for each output / bus. Button cells in the bottom row allow for different groups of outputs / buses to be viewed in the control cells above.

Pressing down on a rotary control highlights that output/bus in the bottom row for additional controls such as listens, tone and talkback selectors.

For Main and Group buses, this area also includes an Assign button, allowing that bus to be assigned and be the focus of PROCESSING & SEND-ROUTE panel modes without the need to have the bus on a physical fader. See Fig 1.

FIG 1 - OUTPUTS MODE CONTROL LAYOUT

CALREC Putting Sound in the Picture 45

MONITOR MODE

Monitor mode compliments the dedicated monitor panel, providing control over monitor configuration and source selection as well as standard monitor controls that can be accessed from any location on the control surface along with provision for independent monitoring for multiple operators.

The four monitor pre-selectors, along with four meter selectors are located in the bottom row. Pressing SEL on any of these makes it the focus of the right hand side of the TFT screen, allowing for the source to be changed and for miscellaneous settings to be applied.

The button cell to the left of the meter selectors allows for the panel to switch between controlling monitor output 1 and monitor output 2. See Fig 1.

The button cell at the bottom left switches the left hand side of the TFT screen between talkback functions and a user memory load / save screen see Fig 2.

FIG 1 - MONITOR MODE CONTROL LAYOUT

FIG 2 - MEMORIES SCREEN ON CONSOLE MONITOR MODE

Control Panel Modes

46 APOLLO

Digital Broadcast Production Console

WILDS MODE

WILDS mode allows the user to configure custom wild controls within the Assign and single Fader panels. It requires another panel in that User section to use as the selection source.

Setting Up Wilds mode

To access Wilds mode across both the Assign and single Fader panels, select the SET UP WILDS key on the modes row whilst in WILDS mode. If WILDS mode is not selected, then the SET UP WILDS

key is shown as SET UP FADER WILDS and solely acts on the single Fader panel see “Setting Up Fader Wilds” on page

48 for details.

Dual fader panels will only show the SET UP WILDS key if WILDS mode is engaged, as Fader Wilds are not available.

To show a panel is in SET UP WILDS mode , the fader display toggles between normal and ‘Setting Up Wilds’ .

To leave Set Up Wilds mode, press the BACK TO MODES touch key in the modes row.

Selecting Wilds

Any combination of Wildable path controls can be assigned to the rotary controls and buttons in the Wild assignment areas in Fig 1.

In SET UP WILDS mode, press the rotary control or button of the assignable wild to be set which will flash red to indicate that selection for change. Note that only one rotary control or button can be selected at the same time in the same column.

A range of controls can be selected by pressing and holding two similar wild controls on the same row at the same time.

FIG 1 - WILD ASSIGNMENT IN WILDS MODE

Modes row

Wild assignment

area on Assign

Panel

Fader Wild

assignment area

on single Fader

Panel

If the LINK WILD SELECTIONS button is selected, any subsequent press of a wild control will select the entire row - through all layers of the console - and put them all into selected wild assignment flashing red.

Memorising Wilds

Once wild assignments have been created they are stored in memories and can be copied elsewhere using the Copy Path tool or using Presets which also allows Wilds to be transferred between Apollo & Artemis consoles.

CALREC Putting Sound in the Picture 47

FIG 2 - SELECTING AND ASSIGNING WILDSAssigning and Clearing

Once a wild control has been selected for assignment, any other valid control from a different panel within the same user section can be used as the source for duplication. Once applied, the wild will immediately display the same control as the source.

The process for selecting and assigning wilds is shown in Fig 2.

If an invalid source selection is made, the relevant fader display will show the message ‘Cannot Assign Control’:

Wilds are assigned on a fader rather than a path basis so an unassigned fader can be given wild controls which only become active once a path has been assigned to that fader.

Wilds and/or fader wilds can be copied from one path to another using the Copy Path settings function within LAYER TOOLS (see Getting Signals into Apollo>Paths and Faders for more details).

If a path is moved or cloned, all wilds assignments will move along with it. As wilds are fader/layer based, wilds can also be set differently for each layer.

To clear any selected wild control, press the CLEAR WILD touch key on the modes row. Note the CLEAR WILD key will deselect after any successful ‘clear’ operation.

In ‘Setup

Wilds’ mode,

select Wild

rotary control

or button(s)

from the

assign

or fader

panel. The

selection will

flash red

From

another

console

panel, select

any control

from any

panel mode.

On the

original

panel, the

chosen

control

assigns to

the Wild

control(s)

Panel 1 Panel 1Panel 2

Wildable controls

The rotary control and button cells in wild assignment areas can be assigned to many controls including input, output, equaliser, dynamics, auxs, pan, group and monitor levels. For a full list of assignable controls see “Wildable Controls” on page

49.

For instance, path delay, and if assigned, input delay, direct output delay, aux output delay, track output delay and main output delay, could be assigned to a wild control.

Some controls such as pre eq/pre fader & post fader, PFL, AFL and assign delay, are not Wildable and will show the ‘Cannot Assign Control’ message as above.

Alternate Fader Wilds

Whilst assigning a control, if a faders assign button is held down whilst touching its fader knob, rather than pushing an assign rotary control, the fader control for the alternate A/B sub-layer will be assigned to the wild control. For example, while operating on sub-layer A then the fader control of sub-layer B would be placed on the selected wild control.

Alternate fader wilds allow dual fader functionality on a single fader panel.

Control Panel Modes

48 APOLLO

Digital Broadcast Production Console

Setting Up Fader Wilds

Note that Fader Wilds are only available on Apollo Single Fader Panels.

To set up Fader Wilds exclusively (existing settings within the Assign panel are not affected), select the SET UP FADER WILDS key on the modes row. SET UP FADER WILDS is only available when not in WILDS mode. If WILDS mode is selected, then the same key becomes SET UP WILDS and acts on both Fader Wilds on the single fader panel and Wilds on the Assign panel, see Wilds mode above.

As in Wilds mode, the fader display toggles between normal and ‘Setting Up Wilds’ to show a panel is in Set Up Wilds mode. The assignable wilds controls within the single Fader Panel are show in Fig 3.

Other functionality is the same as described for Wilds mode, except the user is confined to assigning Fader Wilds.

Memory Isolation

The Memory Isolation function includes the ability to prevent the wilds of any path from being overwritten when loading a memory.

To do this, you must set the scope of memory isolation to include Wilds and/ or Fader Wilds using the LAYER TOOLS button in the layers row.

See “Memory Isolation” on page 177.

FIG 3 - SETTING UP FADER WILDS

FIG 4 - LINK WILD PAGING

‘Setting Up Wilds’

flashes in Fader

Wilds Set Up mode

Assignable Fader Wilds controls. Red indicates a selected rotary control or button

Wilds pages

The system provides two pages of wilds, per fader, allowing twice as many controls as there are control and button cells. The top right button in each fader quad button cell toggles between pages 1 and 2.

Pressing LINK WILD PAGING in SET UP WILDS mode links all wilds page buttons together, and any page toggle changes all paths to show page 1 or 2 . When wilds pages are linked, a link symbol appears on each - see Fig 4.

CALREC Putting Sound in the Picture 49

WILDABLE CONTROLS

Control Panel Modes

50 APOLLO

Digital Broadcast Production Console

STRIPS MODE

Strips mode arranges the wild assign panel controls and touchscreen into vertical strips with the same controls above each fader on a panel by panel basis. This provides quick access to up to six strip controls and a section of the TFT touchscreen for each fader.

A wild assign panel set into Strips mode is shown in Fig 1. Currently there are a range of pre-configured strips available for use.

Accessing Strips mode

To set a wild assign panel into Strips mode, touch the STRIPS button on the Modes row at the top of the fader panel.

If the Strips bu tton is not visible on the Modes row, make sure that the panel is not locked by checking the status of the MODE LOCK button also located on the Modes row. The MODE LOCK button is always available even in strip type select mode, allowing the user to switch between STRIPS mode and strip type select mode while locked to STRIPS.

Selecting STRIPS mode will display the last used strip type on the panel and show the available strip type buttons.

Apply to All Strips

By default, the user-wide Apply To All Strips button is ON, and pressing the strip type applies it to all panels in that console area. Turn Apply To All Strips off to allow individual panels to change to different strip types.

Routing display

Each strip on the TFT contains a routing overview for the relevant fader. Tapping on the TFT overview expands that strip to allow access to all the bus outputs of that type to add or remove routes to that output from that channel.

FIG 1 - STRIPS MODE LAYOUT

CALREC Putting Sound in the Picture 51

FIG 2 - SETUP STRIPS ON THE MODES ROW

Modes row in its typical state.

After touching the STRIPS button, the different Strip

control options are shown.

Touching the BACK TO MODES button re-

turns the Modes row back to its typical state.

PROCESSING

A/B path indicator

There is an indicator below each routing strip on the TFT which shows the fader number and path label. This changes colour to indicate whether the A (green) or B (yellow) path is selected on the fader. The currently assigned path is coloured blue.

Changing Strips types

When STRIPS mode is selected on the Modes row, the available strips types are shown here: Input & Pan, EQ, Dynamics, Aux 1-24, Aux 25-48, Track Sends and Direct Outputs. To select an arrangement of strips, touch the desired strip to assign it to the panel. Touch the BACK TO MODES button to return to the typical Modes row display. This process is illustrated in Fig 2.

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APOLLO

GETTING SIGNALS INTO APOLLO

Getting Signals into Apollo

54 APOLLO

Digital Broadcast Production Console

I/O BOXES & HYDRA PATCHBAYS SAMPLE RATE SELECTION IN H2O

From Version 8, Apollo consoles can now work at 96kHz sampling frequency.

There are 2 elements to 96kHz operation of Apollo consoles:- Configuring the DSP and configuring the I/O to run at different sample rates.

Consoles at 96kHz

The consoles can switch between 48kHz & 96kHz working as required and they switch their sampling frequency by loading a show at the required sample rate built from a template at that rate.

The numbers of channels and buses are reduced at 96kHz but the numbers at 48kHz are the same as before.

There is no reduction in the numbers of monitor inputs and outputs at 96kHz.

I/O and Hydra2 Patchbays at 96kHz

Before the I/O can be used with a 96kHz console its sample rate has to be changed to match. In H2O a new button labelled “Sample Rate” is made available, selecting this opens the list of I/O boxes connected to the Hydra2 Network.

The list shown in Fig 1 shows the sample rate set for each I/O box or Hydra2 Patchbay. In order to change the sample rate the user first selects the required I/O box or Hydra2 Patchbay box, this enables the Set Sample Rate button at the bottom left of the screen.

Clicking on this opens the Set Sample Rate popup, allowing the I/O boxes and Hydra2 Patchbays to be set to 48kHz or 96kHz, or to follow the sample rate of a specific console. This is shown in Fig 2, please note that certain older I/O boxes cannot be set to run at 96kHz such as the fixed format MADI box.

The Hydra2 network supports 48kHz and 96kHz consoles and I/O boxes simultaneously, it achieves this by running at 48kHz irrespective of whether the Consoles and I/O boxes are running at 96kHz or not. It simply uses 2 samples per 96kHz signal.

FIG 1 - I/O BOXES & HYDRA2 PATCHBAYS SAMPLE RATE SCREEN IN H2O

FIG 2 -SET SAMPLE RATE POPUP SCREEN IN H2O

CALREC Putting Sound in the Picture 55

INPUT SOURCE ORGANISATION

Input sources may take the form of physical audio input ports, DSP outputs from the same console, Hydra2 patchbay outputs from other consoles connected to the same Hydra2 network, or Hydra2 patchbay inputs the sources of which can be switched remotely by H2O or 3rd party controllers.

Filtering the Hydra2 network

Given the shared and hugely scalable nature of the Hydra2 system, your console may be able to access a large number of I/O boxes. Many of these will not be relevant to the show or project that is currently being worked on and their inclusion in any source lists would only reduce clarity and result in clutter. Apollo provides a method to filter out unwanted I/O boxes so that they do not appear in the patching lists, or anywhere else in the software. This feature is shown in Fig 1.

Open >Hydra2 Settings>Edit Network screen in the main application. There will be two lists shown. The left list shows all Hydra2 boxes connected to the network. Selecting a box in this list and pressing the ‘Add’ button will add that box to the list on the right. This means it will now be visible in the console patching screens.

Boxes can be removed in a similar way by selecting one in the right hand list and pressing the ‘Remove’ button.

Boxes at different sample rates

Note that now different sample rates are available, boxes whose I/O is set to a different sample rate to that of the show appear with the SR kHz warning icon to indicate that it cannot be used unless the sample rate of the I/O box is changed in H2O, or a different show is loaded using the correct sample rate. See Fig 1.

Input ports

A port is a physical input to, or output from the Apollo system. As all I/O is contained in a Hydra2 network, each input socket on a Hydra2 box can be termed an input port.

Hydra2 Patchbays

Hydra2 patchbays are virtual patchbays within the Hydra2 domain. Like hardware patchbays, Hydra2 Patchbays have a set of input ports which are ‘hard wired’ to output ports. For port patching purposes, Hydra2 Patchbay inputs are destinations and Hydra2 patchbay outputs are sources. When a source is patched to a Hydra2 patchbay input, it immediately becomes available at the corresponding Hydra2 Patchbay output.

Once configured in H2O, Hydra2 patchbays appear as online in the Edit Network screen and can be added to the Required list to make them available from the I/O patching screens on each console.

For example, if a console operator patches a direct output to a Hydra2 Patchbay input, the Direct Output feed becomes available to all Hydra2 users (who have been granted access) as the corresponding Hydra2 Patchbay output. Hydra2 Patchbays are described in more detail at the end of this section see

“Hydra2 Patchbays” on page 80.

FIG 1 - EDIT NETWORK SCREEN

Hydra2 Patchbays at different sample rates

Note that now different sample rates are available, Hydra2 patchbays can be created to operate at a different sample rate (as shown in the rate column in Fig 1) to that of the show appear with the SR kHz warning icon to indicate it cannot be used unless the sample rate of the Hydra2 patchbay is changed in H2O or a different show is loaded using the correct sample rate.

Port labels

I/O boxes have default native port labels based on the box ID and port number. These labels can be changed using the H2O application. H2O edited labels will appear on all consoles on the Hydra2 network. Labels can also be edited at a console level using the main application. Console level edits overrule H2O and native labels but are only visible on the console they were edited on.

Getting Signals into Apollo

56 APOLLO

Digital Broadcast Production Console

FIG 2 - PORTS LIST SETUP SCREEN

Console level port labelling is performed from >Hydra2 Settings>Port Lists &

Labels screen in the main application see

Fig 2. In this screen, touch the ‘Input Alloc’ or ‘Output Alloc’ button to access the available input or output ports. Double click a port name to provide a new name. Each label is updated as soon as they are edited.

If the port list is being viewed alphabetically in label order, editing them will cause them to move position in the list and they can disappear from view. The list view can be filtered by any of the columns.

To prevent ports moving as they are labelled, click on the ‘Diag’ column header to view them in their physical order.

Note that up to 20 characters can be entered as port labels. All 20 characters are visible in the main application, and H2O, however the control surface has limited text fields. Fader displays only show the first 10 characters of a port label, TFT meter labels will show 14.

When reviewing port lists in the patching screens, the ports are displayed alphabetically. This should be considered when labelling ports. Ports can be grouped together even if they are not in alphabetical order using sets which are described later in this section.

Port lists

Ports can be assigned to lists. Lists provide a way of filtering the information shown when patching ports.

To access ports lists, go to the

>Hydra2 Settings>Port Lists & Labels

screen in the main application (Fig 2). Select the ‘Input Alloc’ or ‘Output Alloc’ button at the left of the screen to work with input or output ports respectively.

The screen will show all available port lists just to the right of the ‘Input Alloc’ button. The ‘Default List’ is created automatically and contains all available input or output ports.

Creating lists

To create a new list, select the required ports from the default list (or any other list that already exists) and touch the ‘Create List’ button. A popup will appear prompting for the name of the new list, which can be six characters or less. Enter the name and touch OK.

The new list will appear below the default list and will contain the selected ports. Touch the new list to confirm this. It is possible to make a new list which is empty, by ensuring that no ports are selected when touching the ‘Create List’ button.

Copying and moving ports to lists

Ports can be copied or moved between lists by selecting the required ports in the source list and touching ‘Copy Lists’ or ‘Move Lists’. A popup dialogue will appear allowing selection of the destination list. Select the destination list and touch OK.

Removing ports from lists

To remove ports from a list, select the required ports and touch the ‘Remove Ports’ button.

Renaming lists

Touch the ‘Modify Lists’ button to bring up a popup dialogue. This dialogue allows you to select a list and rename it.

Removing lists

To remove a list, select the required list and touch the ‘Remove List’ button. A popup dialogue will appear asking for confirmation of the removal.

Sets

Sets provide a way to group ports which together form part of a single source, for example a 5.1 surround source.

CALREC Putting Sound in the Picture 57

When viewing a port list, ports are sorted alphabetically according to their port name. If ports are labelled with the box name and port number this will present a logical order in the list. If however, the ports are labelled according to their function, for example the name of the source feeding the ports with a suffix of each individual leg as shown in the left column of Fig 3, the ports may not appear in a sensible order in the list.

If all ports associated with a certain source are added to a set and arranged in the correct order within it, they will be presented in the port list in that order. The set will be sorted in the port list by the name of the first port in the set.

Adding ports to sets

To add ports to a set, navigate to the

>Hydra2 Settings>Port Lists & Labels

screen in the main application and select either ‘Input Order’ or ‘Output Order’ from the buttons at the left of the screen, see Fig 4.

On the left of this screen, the lists in the current view are displayed. Press the ‘More Lists’ button to scroll through any available views. Select a list to work on by touching it. The main area will now update to show the ports stored in the selected list. Select the ports that re to be stored in a set and touch the ‘Create Set’ button. The number of the set will appear next to the ports. The order of the ports within the set can be changed by selecting a port and touching the up or down arrow buttons.

Ports can be removed from a set by selecting them and touching the ‘Remove From Set’ button. Ports can be added to an existing set by selecting them and touching the ‘Add To Set’ button. This will bring up a popup dialogue which allows the user to select the destination set.

FIG 3 - SETS EXAMPLE

Playback 1 C

When ports are not assigned to sets,

they appear in the port lists in alphabetical order. This may not list the ports in a sensible order, for example in

the case of 5.1 surround sources.

By using sets to group ports for related

inputs, the lists will display the ports in

the correct order. The ports will be

sorted by the name of the first port in

each set.

Playback 1 L

Playback 1 LFE

Playback 1 LS

Playback 1 R

Playback 1 RS

Playback 2 C

Playback 2 L

Playback 2 LFE

Playback 2 LS

Playback 2 R

Playback 2 RS

Playback 3 C

Playback 3 L

Playback 3 LFE

Playback 3 LS

Playback 3 R

Playback 3 RS

Playback 1 L

Playback 1 R

Playback 1 C

Playback 1 LFE

Playback 1 LS

Playback 1 RS

Playback 2 L

Playback 2 R

Playback 2 C

Playback 2 LFE

Playback 2 LS

Playback 2 RS

Playback 3 L

Playback 3 R

Playback 3 C

Playback 3 LFE

Playback 3 LS

Playback 3 RS

FIG 4 - SETS

Getting Signals into Apollo

58 APOLLO

Digital Broadcast Production Console

ALLOCATING SIGNAL PATHS TO FADERS

A path is a generic term that refers to a DSP process in the system. A signal present at an input port must be routed to a Channel path in order for it to be processed, routed, then sent back out of the system.

Running at 48KHz, Apollo has 1020 mono channel paths available. The user is free to configure this pool of mono resources as required. Simply assigning any path type to a fader (mono, stereo or surround) automatically allocates the required number of DSP resources from the pool of 1020. A mono channel path uses a single DSP resource, a stereo channel path uses two mono resources, and a 5.1 channel path uses six mono resources.

Assigning channels to faders

For a path to be directly controlled, processed and routed, it must be attached to a fader on the surface. Input Channels and Output buses need to be patched to a path in order for audio to pass through the system. This is detailed in the ‘Getting Signal into Apollo’ section of this document.

Select TOOLS>FADER ASSIGNMENT from the Layers row, as shown in Fig 2 and then NEW CHANS from the row above to display the input channel types available for allocation.

Select a blank fader by pressing its’ assign button above (A layer) or below (B layer) its label display to highlight it blue and make it the currently assigned path

- the focus of assignable controls. From the New Chans menu, select a width of input channel to allocate to the fader – 5.1 surround, stereo or mono. On releasing the button, a DSP input channel of the chosen width is instantly allocated to the assigned fader and its label display is updated accordingly.

Paths of the same width can quickly be assigned to multiple faders by holding a channel width button down whilst then selecting the assign buttons of the blank faders to allocate the channels to.

Once a fader has a signal path on it, the path type or width cannot be changed, the path must first be removed before a different path can be allocated.

When assigning input channels to paths in this way, a new input channel is allocated to each fader from the available DSP resource pool. DSP resources are quoted in mono channel legs. When a stereo channel is allocated, 2 mono paths are used from the resource pool, and 6 are used to create a 5.1 surround channel.

Assigning buses to faders

Main Output buses and audio sub-group buses that have been configured can also be allocated to faders if required. Selecting Mains or Groups from the TOOLS>FADER ASSIGNMENT menu displays the relevant bus types that are available. If more groups are available than can be displayed across the panel, buttons will be present to allow the view to page through the different groups.

Selecting a Main or group will allocate that DSP path to the currently assigned fader as long as the fader does not already have a path allocated. Main output paths can also be allocated to the faders on the dedicated monitor panel if the full-featured version with faders is fitted. When allocating to these faders,

FIG 1 - ROW LOCATIONS FIG 2 - ASSIGN FADERS VIEWS ON THE SETUP ROW

PEAK

10020

START

STRIP

FDR

CUT/ON

AUTOM

EXT

CUT

STRIP

FDR

CUT/ON

AUTOM

EXT

CUT

STRIP

FDR

CUT/ON

AUTOM

EXT

CUT

STRIP

FDR

CUT/ON

AUTOM

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CUT

STRIP

FDR

CUT/ON

AUTOM

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CUT

STRIP

FDR

CUT/ON

AUTOM

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CUT

STRIP

FDR

CUT/ON

AUTOM

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STRIP

FDR

CUT/ON

AUTOM

EXT

CUT

PEAK

10020

START

PEAK

10020

START

PEAK

10020

START

PEAK

10020

START

PEAK

10020

START

PEAK

10020

START

PEAK

AFL

PFL

AFL

PFL

AFL

PFL

AFL

PFL

AFL

PFL

AFL

PFL

AFL

PFL

AFL

PFL

10020

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PATH

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MR SL

CUT

CUT CUT

Layers Row

Functions Row

CALREC Putting Sound in the Picture 59

ensure the panel is not in spill or Downmix mode. Unlike input channels which are configured as they are allocated to faders, the buses need to already be configured from the main application

>Operate>Bus Config screen. Please

see the Buses Overview section for more detail. Each numbered main or group is a unique bus signal path. If the same main or group bus, e.g. ‘Main1’ is allocated to more than one fader, each fader is controlling the same bus path and adjustment of any of them will be reflected by the others. Cloning bus faders in this way can be useful to provide access to a bus from different physical locations or different fader layers.

Assigning auxs and tracks to faders in the Tools menu

From V7.0 it is possible to assign auxs and tracks to faders from the Tools menu in exactly the same way as groups & mains. The aux buses are arranged in three pages of 16 for up to 48 auxs and the track buses arranged in six pages of 16 for up to 96 tracks.

Inserting blank faders

It is possible to blank out the A or B path of a fader and shuffle the existing paths on the surface to the left or the right. Fig 3 illustrates this feature.

To achieve this, hold the INS << BLANK or INS >> BLANK button and then press the A or B assign button on the fader where the blank is to be inserted.

Paths may only be inserted if there are enough empty faders to the left or right of where the path is inserted. If there are locked paths between the empty faders and the path to be inserted they will not allow the insertion to continue. Similarly, paths cannot be moved past the faders at the left and right edges of the surface.

Removing a path from a fader

To completely remove a path from a fader on the surface, touch the LAYER TOOLS button on the Layers Row. In the updated Function row touch and hold the REMOVE / DELETE PATHS button, then

touch the assign buttons of the faders that contain the paths to be deleted. The assign buttons of the selected paths will strobe to indicate the selection. Release the REMOVE / DELETE PATHS button and touch either the EXEC or CNCL buttons to execute or cancel the selection respectively.

Layer locking faders

Each fader can be locked to a chosen layer. Layer locking ensures that chosen paths are always active and available on the control surface, irrespective of which is the active fader layer for the rest of the console.

To lock faders to the currently selected layer, select the LAYER TOOLS menu from the Layers Row, then on the updated Functions row above, press and hold the Layer Lock button whilst selecting the faders to be locked by pressing their assign buttons. Repeatedly pressing a faders Assign button whilst holding the Layer Lock button will toggle the lock on and off.

When a fader is locked to a layer, a padlock icon will appear in the fader label display to indicate the lock is active.

After unlocking, a fader will remain on the same layer until the next console wide layer change, or its A/B sub-layer is changed. Unlocking does not cause it to automatically change to the current console layer. If only the A or B layer of a fader is locked it will no longer be possible to switch between the two. To retain A and B layer switching whilst locking a fader to a layer, both the A and B ASSIGN buttons must be pushed when locking the layer.

Cloning paths

An existing path may be cloned to an empty fader. This action does not duplicate the path, rather it allows multiple faders to control the same DSP path. Any changes made to the path on one fader will be reflected when the path is accessed by another fader. The source path should be assigned by pressing the A or B assignment button.

FIG 3 - INSERTING BLANKS

MR SL

Inserting a blank and shuffling existing faders to the right is allowed here. There is nothing to block the path of the shuffled faders.

The arrangement of paths below serves as the starting point for the two following examples.

Inserting a blank and shuffling existing faders to the left is NOT allowed here. Locked faders are blocking the path of the faders to be shuffled.

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Digital Broadcast Production Console

Now touch the LAYER TOOLS button on the Layers row to update the Functions row above. Touch and hold the CLONE PATHS button on the Functions row and then press the assignment button of the destination fader to which the path will be cloned. This must be an empty fader. The destination fader’s A or B assign button will strobe to indicate the selection. The CLONE PATHS button can now be released and either EXEC or CNCL can be pressed to confirm or cancel the cloning respectively.

Moving / Swapping paths

Two paths that are attached to faders on the surface can have their locations swapped. All settings on the paths remain intact, this function simply swaps the faders that control the two paths.

To swap the location of two paths:

1. In a similar way to cloning a path, push the ASSIGN button of one of the paths to be swapped.

2. Touch the LAYER TOOLS button on the Layers row to update the Functions row above.

3. Touch and hold the SWAP PATH button on the functions row then press the assign button of the other path which is to be swapped. The assign buttons of the two paths should now be flashing to indicate the selection.

4. Release the SWAP PATH button and press the EXEC button to confirm the process or press the CNCL button to cancel the process and leave the path positions unchanged.

The path on the first fader moves to the second selected fader, and at the same time the path on the second fader moves to the first rather than being removed. Faders with no path allocated can also be selected as part of the swap-path process, i.e a path can be moved to a blank fader, leaving its original fader blank.

Swapping paths moves the whole DSP signal path from one physical fader to another. The input source and its settings along with DSP and routing settings are all moved from one fader to another.

Copying path settings

Settings for a given path may be copied over to another path. You can choose whether to copy all settings, or just a certain subset of the settings.

The elements which can be copied are:

• IP1 + DELAY ( Input 1 settings - 48V, input trim, SRC and input delay)

• IP2 + DELAY (Input 2 settings - 48V, input trim, SRC and input delay)

• EQ 1-4 (EQ bands 1-4)

• EQ 5-6 (EQ bands 5-6)

• DYN1

• DYN2

• PATH DELAY (Path delay settings)

• FDR + D-MIX (Fader level and down mix levels if used)

• DIR O/P + DEL (Direct output and output delay settings)

• TO M/G (Routing to mains and groups)

• TO TRK (Routing to tracks)

• TO AUX (Routing to Auxiliaries)

• WILDS

• FADER WILDS

• AUTOFADER

• ALL (All of the above elements)

Note, when copying settings which include assignable (input and output) delay, the delay settings will only be copied if the destination already has the delay assigned. The copy function is just for the delay setting, not the delay itself.

To access the copy function, touch the LAYER TOOLS button on the Layers row. The updated Functions row above will display the controls shown in Fig 4.

FIG 4 - COPY PATH SETTINGS

To copy path settings:

1. Use the middle four button cells to select the path elements that you wish to copy by toggling on/off the buttons above each option.

2. Press the assign button of the path from which you wish to copy settings.

3. Now press and hold the COPY CHAN PROPERTIES button and whilst holding, press the assign button(s) of any paths you wish to copy the settings to. Release all buttons and then press the EXEC or CNCL buttons to confirm or cancel the copy respectively.

Some important points to note:

• If you are copying the properties of a stereo or surround spill leg the stereo or surround master will be used as the copy source.

• If any copied properties do not apply to the copy destination, those properties will not be copied, for example Balance settings will not be copied from a stereo to a mono path.

• If a path’s properties are copied to a path of a different width, only the master settings for the path will be copied.

• Input 1/2 switching and TONE on/off switching will not be copied.

Warnings and Conflicts

When copying path properties it may be the case that now path settings create conflicts, for example, when altering the input settings of a shared input port. If a conflict does arise a pop-up will appear on the TFT to inform you along with the usual Input/Output sharing pop-up on the main application screen. See “Input

Port Protection” on page 71 for more

information.

CALREC Putting Sound in the Picture 61

FADER SETUP SCREEN

Fader / path management can also be carried out from the main application GUI.

The >Operate>Fader Setup screen provides a visual representation of all faders and all layers, showing the current path to fader assignment of the control surface.

The on-screen display shows the type of path (if any) assigned to each fader, along with the input port / fader label, and supporting indicators such as VCA group status, layer locks, memory isolates, and cloned paths.

Clicking on a fader cell will bring up the options available:

If the fader currently has no path assigned, a pop-up menu will allow path allocation as shown in Fig 1.

If the selected fader already has a path assigned, options will be presented to create a clone, to move, or to delete the path. If ‘Clone’ or ‘Move’ is selected, the user should next select the destination fader - where the clone will be placed, or where the path is to be moved to.

When moving a path to a fader already occupied by another path, the user is presented with the option to swap the position of the two paths over (same as the Move Path function when performed from the control surface), or to discard the original path on the destination fader.

Operations can be performed on multiple consecutive faders at the same time by dragging, or shift-clicking to select a group. Whole rows can be selected by clicking the A / B layer markers down the left hand side of the screen.

The fader setup screen now follows fader access on the surface, in the same way as the patching screen. This behaviour can be toggled in the States button in the left hand side of the footer of the main application.

FIG 1 - MAIN APPLICATION, OPERATE>FADER SETUP SCREEN

FIG 2 - PATH WIDTH ICONS

- Mono

- Stereo

- 5.1 Surround

Memories from larger consoles

User shows / memories can be transferred between mixing consoles of the same type, for example, an Apollo User Memory can be transferred to another Apollo surface.

If a memory is loaded that was created on a larger control surface, with more faders, the additional paths are displayed as virtual faders. The fader setup screen can then be used to re-organise the paths needed on to available physical faders / layers.

The ICONS shown above in Fig 2 are used to show the widths of various paths.

Assigning auxs and tracks to faders in the Fader setup screen

From V7.0 it is now possible to assign auxs and tracks to faders from the Fader setup screen in the same way as channels, groups and mains see Fig 1 above, these can also be assigned from the Tools menu.

Remote Production Option

From V8.0 it is now possible to assign remote paths from RP1 remote production units by clicking on the ‘Remote’ option as shown in Fig 1. This allows the user to map the remote faders and remote aux masters of RP1 units on to the console surface. The operation and integration of the RP1 remote production unit with the Apollo console i s t h e su b j ec t o f a se p a ra t e m a nu a l :-

Remote Production RP1 System Manual (926-222) which can be downloaded

from the Calrec Website. In the manual is a chapter ‘Operation Via Host Console’ which shows how to setup and operate the RP1 remote production unit via a host console in this case an Apollo .

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INPUT TYPES AND PATCHING

The main application >I/O>I/O Patch screen is used to route Hydra2 audio input & output ports for general use.

This screen works on a source to destination basis, with the left hand side of the screen displaying a table of sources, and the right hand side displaying a table of destinations. See Fig 1. All patches made from the I/O screen are saved as part of the user memory.

Ports at different sample rates

Note that now different sample rates are available, ports set to a different sample rate to that of the show appear with the SR kHz warning icon to indicate that it cannot be used unless the sample rate of it’s associated I/O box is changed in H2O or a different show is loaded using the correct sample rate. See Fig 1.

Searching input sources

The source and destination lists are filtered by type. Click on the Select Source button at the top of the sources list to bring up the available sources menu. See Fig 2. Source types are shown in a column on the left side of this menu, highlighting ‘Input Ports’ displays a series of buttons for the Hydra2 input port lists, as defined by the >Hydra2 Settings>Port

Lists & Labels screen (see the Input

Source Organization section for more details on port lists). The Default List contains all Hydra2 input ports that have been made available. If port lists have not been customised, there will be a separate list for each Hydra2 I/O box, labelled with the box ID numbers. Custom lists may have been created and / or individual box by ID lists deleted. Custom lists are commonly used to group ports by location or type, for example ‘Studio 1 Mic’s’, ‘VT machines’ etc. Selecting a port list closes the Available Sources Menu and displays the chosen list in the sources table.

Searching destinations

Click on the Select Destination button at the top of the destinations table to bring up the available destinations menu. Destination types are listed in a column down the right hand side of this menu. Highlighting ‘My Desk Inputs’ displays the types of DSP inputs available to patch to,

clicking ‘Channel I/Ps’ closes the available destinations menu and displays a table of the control surface faders.

Channel input / fader views

When displaying channel inputs, the right hand column of the destinations table, and the text field above the table show the fader layer being viewed. Different fader layers can be viewed by clicking Select Layer. Choosing ‘Desk Layer’ makes the screen follow whichever is the active layer on the control surface.

Note that each channel path has two inputs which it can switch between, allowing the source on a channel fader to be quickly changed without re-patching.

Channel input 2

Input 2 is often used for backup sources such as secondary microphones. The input 1/2 switch takes place at the front of the DSP channel path - all processing,

such as EQ, dynamics and routing of the channel is the same irrespective of whether input 1 or input 2 is active, meaning that changing to a backup source in this way not only utilises the same fader but also ensures all processing and routing is the same as when using the original source.

The two inputs do have independent controls for input specific functions, such as analogue gain and phantom power, allowing for different types of sources to be used on the two inputs.

As well as fader layer, the text field above the destinations table also shows whether it is displaying input 1 or input 2. Buttons in the right hand corner beneath the table are used to switch between displaying Input 1 & Input 2. The labels are highlighted when viewing input 2 to draw attention to the fact that these are not the default inputs.

This screen is used for the patching and viewing of patches only, the actual switching of a channel between using input 1 and input 2 is performed from the PROCESSING panel mode.

FIG 1 - MAIN APPLICATION, I/O>I/O PATCH SCREEN SHOWING DESK INPUTS

Change source list / type

Change destination list / type

Change fader layer

FIG 2 - AVAILABLE SOURCES POP-UP

CALREC Putting Sound in the Picture 63

Faders in the table run in numerical order and are colour coded green for A layer faders and yellow for B layer faders. Buttons under the table allow for the view to be filtered between showing both A & B layers or A layer only/B layer only.

The ‘Type’ column shows the width of the path as M for mono, and two rows for the L and R for stereo. Surround paths take up six rows in the table: front L and front R; C and LFE; and rear Ls and rear Rs. Faders with no DSP path allocated are displayed as ‘No Path’ in the type column.

Patching input sources to faders

Patching is carried out by highlighting the required light blue ‘Port’ cell in SOURCES, and highlighting the desired Fader row in DESTINATIONS then pressing ‘Patch’.

The example in Fig 3 shows input port 135-1-01 being highlighted. Find the desired channel / fader from the list on the right and highlight it by clicking on the light blue ‘Connected Source’ cell - turning the row darker blue, the example above shows a mono path on fader 1B - Layer 2 being selected. Note that faders with no path allocated, or non-channel paths on faders such as group and main buses will not display a light blue patching cell and cannot be highlighted.

Once the relevant source and destination is highlighted, click the ‘Patch’ button to place the source onto the destination.

Once patched, the source label is shown as a ‘Connected Source’ in the destination cell, as well as the fader’s label display on the control surface, and audio will be passing from the port to the channel input.

Note the ‘Connected Destination’ field in SOURCES, is to quickly show the user all the places a particular source is going to.

Patching at different sample rates

Sources at different sample rates to the show including ports, hydra patchbays and aliases can be patched (except for System level patches) to desk inputs but will not work and are shown as !! pending !! until

the sample rates are matched. Similarly with desk outputs to destinations at different sample rates.

Port to port patches cannot be made for I/O that is at a different sample rate to the desk. However they can be made in H2O and by SW-P-08 providing the source and destination ports are at the same rate.

Bulk patching and source views

Multiple patches can be made at a time by selecting multiple cells. For example, selecting one source, but multiple faders by click-dragging, or control / shift-clicking then patching will place the one source onto the multiple faders. Alternatively, selecting multiple sources and a single destination will patch all the selected sources to consecutive channel paths starting with the one selected. This can be useful for example to patch a group of 6 sources onto a surround fader in one process, or a group of consecutive ports to consecutive faders.

Protection against removing multiple destinations

In order to prevent accidental removal of multiple connected destinations. When a source has more than one destination and

the connected destinations remove button is pressed, a message appears warning the user that “ All connected destinations selected above will be removed. Are you sure you want to do this?. They can then press the Remove button or the Cancel button if the user changes their mind.

Mic Open field

The Mic Open (MO) field shows if a mic open bus is assigned, with a number from 1-5. If no mic open bus is assigned then a single dash is shown - as above. More information on mic open can be found in the Mic Open Systems section within External Interfacing.

Additional port info - Desc & Diag

Additional source view filters are ‘Desc’ which displays a description text field for each port alongside the label and ‘Diag’ which shows diagnostic information as to the physical location of the port - this is particularly useful when port labels have been edited from their defaults.

Clicking on the column headers orders the list by column, therefore clicking on the diag column will order the ports by their physical order and box ID rather than by the alphabetic label order.

FIG 3 - PATCHING HYDRA2 INPUT PORTS TO INPUT CHANNEL PATHS ON FADERS

Highlight destination cell

Patch selection

Highlight source cell

Connected Destination

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Over-patching, removing & moving

Patching a new source to a destination with a source already patched will replace the original patch with the new one.

Sources can be removed from destinations by highlighting the relevant destination’s ‘Connected Source’ blue cell and clicking ‘Remove Source’. Similarly, destinations can be removed from sources by highlighting the destination in the ‘Connected Destination’ column and clicking ‘Remove Dest’.

Clicking the ‘Move From’ button with destination cells highlighted allows for different destination cells to then be selected, the button changes to display ‘Move To’ and clicking it will remove the sources from the original destinations and place them on the new ones.

Moving sources in this way moves the input port and input settings (analogue gain, phantom power and SRC) from one input channel to another, it does not move the DSP channel path itself - path settings such as EQ, dynamics and routing do not move with the input. The Move Path function from the control surface’s Layer Tools menu can instead be used to move the whole path, including all its settings along with the input and input settings from one fader to another.

Offline patching

Sources that are currently offline, i.e if the I/O box is not powered are displayed red with an ‘OFF’ icon. Patches can still be made and saved using offline ports. When the I/O box comes online audio will automatically be routed as per any patching made.

Sources used in multiple locations

Hydra2 input ports can be patched to multiple console inputs as well as directly to Hydra2 outputs and to other console’s on the same Hydra2 network. Audio is passed to all destinations simultaneously. Please note however that analogue input gain, phantom power and sample rate conversion are set in the Hydra2 domain in the I/O box rather than console DSP

and therefore adjusting these parameters will affect all instances where that input port is used, including any other consoles on the same network.

Returning outputs to input channels

As well as patching Hydra2 input ports, input channel paths can also be fed from the console’s DSP outputs. Highlighting ‘My Desk Outputs’ in the Select Sources menu offers bus and direct output lists that can be patched to channel inputs in the same way as input ports. Patches made in this way actually loop the output/ bus audio back into a channel input. This is different to assigning a bus to a fader to provide fader level control over the bus.

Hydra2 Patchbays

Any Hydra2 Patchbays that the console has been granted access to from the H2O GUI will also appear in the Select Sources menu. Consoles can patch their DSP outputs to Hydra2 Patchbays which can in turn be patched as console sources, allowing consoles to share their outputs across the network without using physical I/O.

In addition to accessing other consoles outputs, H2O network administrators and SW-P-08 router controllers can patch Hydra2 Patchbays to / from physical I/O ports, allowing them to remotely control which consoles are feeding which outputs, and to be able to change the audio on sources feeding console inputs. Please refer to the H2O user guide for details on configuring Hydra2 Patchbays.

HPB’s at different sample rates

Any Hydra2 Patchbays that has been set to operate at a different rate than the desk will behave in the same way as ports do at different sample rates than the desk.

Alias patching

The ports of any alias files that are active on the console will be available for patching from the ‘Input Port Aliases’ group of the Select Sources menu. The audio on Alias ports is determined by the active Alias file. Changing the active alias file allows for the audio on aliased patches

to be changed en-masse by the operator without changing the user memory and therefore retaining all other settings.

This may be used for example to allow a show to be made from different studio locations, using different I/O boxes but using the same user memory so that any parameter changes only need to be managed in the one memory file. Please refer to the Alias Files section for detail on setting up aliases.

Patching inputs directly to outputs

As well as patching to console inputs, input sources can also be patched directly to output ports. This may be for simple routing of signals from point A to point B, to distribute a signal from one source to multiple destinations, or to convert the format of a signal between analogue / AES / SDI / MADI etc. Sources can be patched to multiple outputs, channel inputs and other console’s inputs simultaneously. When patching an input directly to an output, it does not use up any console DSP resource.

The signal is routed prior to any console DSP parameter settings, but post the Hydra2 domain input settings - analogue input gain, phantom power and SRC settings are carried by input to output patches.

To patch to output ports, click the Select Destinations button, select Output Ports, then choose the relevant port list. Patching is performed the same way as for channel inputs - highlight the blue source cell, the blue destination cell then click patch.

If an output port already has a source patched, it will be displayed. Like channel inputs, patching a different source will replace the original one. Outputs with sources patched from other consoles on the network are prefixed R:

Please refer to “Output Types and

Patching” on page 130 for more details

on output patching.

CALREC Putting Sound in the Picture 65

Patching Shortcuts

From V6.0 there are some added shortcuts on the Apollo and Artemis surfaces and in the main application, which will dramatically speed up the patching workflow.

The first few shortcuts are in the patching screens on the main application. In any source list, double tapping (or double clicking) any connected destination cell will change the destination area to display a list containing the relevant destination, which will be selected ready to be easily moved, replaced, or removed.

Similarly, you can double tap (or double click) on any connected source cell in any destination list. Doing this will change the source area to display a list containing the relevant source, which will be selected ready for you to remove it, or make another connection. See Fig 4.

The remaining shortcuts are available on the surface. In the area at the top of the touch display in Processing mode, INPUT PATCHING. OUTPUT PATCHING and INSERT PATCHING buttons are available, depending on the type of path accessed. Tapping one of these buttons will change the main application to show the relevant patching screen, show the appropriate source and destination lists, and select the specific sources and destinations. See Fig 5.

In the Focus Area, at the bottom of Routing mode when you tap on a direct output level rotary control, or at the bottom of Buses & Outputs mode when you tap on an output level control, we have added an “Output Patching” button. Pressing this button changes its display to show ‘SEE PC’ and will again instruct the main application to show the relevant patching screen, show the appropriate source and destination lists, and select the specific sources and destinations. See Fig 6.

FIG 4 - PATCHING SHORTCUTS IN MAIN APPLICATION

FIG 5 - PATCHING SHORTCUTS IN THE CONSOLE PROCESSING MODE SCREENS

FIG 6 - PATCHING SHORTCUTS IN THE BUSES & OUTPUTS FOCUS AREAS

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FIG 8 - SOURCE LABEL HIERARCHY

Source Label Hierarchy

Path labelling has been improved providing consistency across all path widths and types. There is a hierarchy of labels available: from system defined default labels, through network level user labels, all the way up to user defined path labels:

1. User Path Label

2. External Label (from SW-P-08)

3. Hydra2 Patchbay Source (if source connected to channel via a Hydra2 Patchbay)

4. Source Alias Label (if connected through an alias)

5. Source Label - Local (if given a label in the main application)

6. Source Label – Network (if given a label in H2O)

7. Source Label – System (combination of the box and port ID)

By default, the highest level of label in this hierarchy is displayed, but you can choose to force this to show whichever level of label you prefer. This can be very useful for diagnostics. It’s also possible to turn off dynamic labels received via SW-P-08, or when showing the sources of Hydra Patchbays, see Fig 8.

Custom fader labels

The ‘Label’ column allows custom user labels to be shown in the fader’s label display. Double click on a cell in this column to enter a custom label. Note that custom labels are associated with the fader, rather than the input port.

The custom label is retained even if the input port is changed. If the port is removed, the fader’s label will display ‘No Input’. When a new port is patched, the custom label will be displayed again.

To clear a custom label and revert to the port label, double click the label cell, delete it and press enter. See Fig 7.

Ability to Receive External Source Labels via SW-P-08

Apollo and Artemis can now receive and display external labels over SW-P-08.

This can be incredibly useful when integrating with external matrices, as it allows the source labels from the external matrix to be passed through to faders on the surface.

FIG 7 - ENTER CUSTOM FADER LABEL

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FIG 1 - INPUT CONTROLS COLUMN ON PROCESSING OVERVIEW

INPUT CONTROLS

Once a path has been assigned to a fader, certain options are available to control the input signal.

Depending on the operating mode, the controls may be accessible in various locations on the surface. As the controls available in Wilds mode are very flexible and may have been customised by the user, this section will detail the controls available on a panel in Assign Mode using any of the standard PROCESSING layouts.

Fig 1 shows the layout of input controls in the PROCESSING - Overview Assign mode layout.

Inputs 1 and 2

Each input channel can be quickly switched between two inputs using the INPUT 1 and INPUT 2 selection buttons. A common use for input 2 is for backup microphones, allowing them to be easily available, using the same fader, processing and routing as when using the primary microphone on Input .

Mic/Line gain

The gain of any connected mic/line input can be adjusted with this control. The gain range varies from +78 to -18 dB. This gain control alters the gain at the input port in a Hydra2 I/O unit and will only be available to the owner of that port. Port ownership is discussed in the Input Sources section of this document.

If the gain is not the same on all legs of a channel then the gain display will show the highest and lowest value, as highlighted in Fig 1’s exploded view. (Shown Right)

±6dB coarse gain

This control allows coarse gain adjustments to be made to the mic/line input gain. Pressing the + or - buttons will boost or attenuate the gain by 6dB respectively.

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Input trim

Input trim boosts or attenuates an input signal by ±24dB inside the channel path. This is the only input gain control available for digital input signals. As the gain is applied inside the channel path it has no effect on any other operators using the same port.

Linking Input Trims

Inputs 1 and 2 have separate input trim controls. These can be linked together by simultaneously pressing the INPUT 1 and INPUT 2 buttons in the wild assign row. The wording on the button cell changes to ‘TRIMS LINKED’ to show that the process has been successful.

Adjustment of a linked input trim control will be applied to both Input 1 and Input 2, maintaining any offset between them.

Tone

A button on the TFT touchscreen overrides the input of the path with tone at the frequency and level currently set. When tone is applied to a channel an indicator will appear on the input controls, the fader and any meters relevant to the fader as a visual aid to the user.

Input delay

A pool of 256 legs of assignable input delay is available to channel paths, allowing up to 2.73 seconds of delay to be applied to each path with delay assigned.

Input delay is assigned to channel paths from the PROCESSING - DELAY panel mode, see “Delay” on page 93.

FIG 2 - INPUT SIGNAL FLOW

Mic gain

with 48V

to L and R

AES input with SRC

Other inputs

Input 1

trim

Balance

Stereo channel / leg

Mono channel / leg

To channel

ø L

ø R

M/S

LTB

RTB

Input

selector

(1/2)

Hydra2

Input 1

delay

Tone

Input 2

delay

Input 2

trim

Balance

ø L

ø R

M/S

LTB

RTB

Hydra2

Mic gain

with 48V

AES input with SRC

Other inputs

Input 1

trim

To channel

Input

selector

(1/2)

Hydra2

Input 1

delay

Tone

Input 2

delay

Input 2

trim

Hydra2

CALREC Putting Sound in the Picture 69

The following controls allow manipulation of mono or stereo input signals. Should a fader have a surround path assigned to it, each mono or stereo leg of this surround signal may be manipulated by assigning the relevant leg on the spill panel.

48V

48V (phantom power) can be sent to each leg of the input signal using the 48V button (mono) or the 48L and 48R buttons (stereo). These are located on the TFT touchscreen.

Polarity inversion

The polarity of the each leg of the signal may be inverted individually

Input balance

The balance of a stereo input pair can be varied from +/- 3dB left/right, through centre stereo.

L>B and R>B

Path leg routing options L>B (left to both) and R>B (right to both) allow you to route the left or right legs to both sides of a stereo channel. With both switches in the off position the left signal feeds the left leg and the right signal feeds the right leg of the stereo path, this is a ‘normal’ stereo setup. Switching on L>B feeds the left signal to both left and right sides of the stereo path, and switching on R>B feeds the right portion of the signal to both left and right sides of the stereo path. Switching both switches on sums the left and right portions of the signal together and outputs this on both the left and right legs.

With both switches in the same position, either on or off, you have access to the input balance control. When they are both off the balance control responds as described above but with both controls switched on the it is a full range balance control i.e turning the dial all the way to the left outputs the left hand signal from both legs of the path.

With either L>B or R>B switched on independently, the balance control is unavailable—it would have no effect as the left and right portions of the signal would be the same.

M-S

If the input signal on a stereo input is presented as an M-S pair it may be presented incorrectly unless the M-S decoder is switched in. A button on the touchscreen toggles the decoder in or out.

SRC

Sample rate conversion may be turned on if an AES input is selected. The buttons for this are found in the same location as the 48v buttons when a Digital Source is selected.

Signal flow

Fig 2 shows the signal flow of Apollo’s input section for a stereo input with input 1/2 selection.

Note that it is possible to change input controls for an I/O box port which is offline. In this case it is important that console operators regularly save the User Memory to avoid losing settings when the I/O box comes back online.

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REPLAY

The Replay feature allows easy switching between inputs 1 and 2 for a pre-determined set of paths.

The primary use of replay is to provide a quick way to play back multitrack content over the same fader paths used for recording. This is achieved by patching each live audio source to a path’s input 1 and the corresponding recording device output to the path’s input 2. All paths being used with the multitrack recorder should then be added to the replay set, allowing their inputs to be switched between 1 and 2 with a single button press.

Replay control buttons can be accessed by selecting TOOLS and then MISC from the Layers row. On the far left of the functions row above there are two buttons associated with replay: ON and SETUP.

Adding Paths to the Replay Set

Paths can be added or removed from the Replay Set by pressing their ASSIGN button whilst holding the Replay SETUP button down, as indicated in Fig 1 above.

Whilst holding down Replay SETUP, notice that all paths currently in the Replay Set are indicated by strobing ASSIGN buttons.

Activating Replay

Pressing ON in the replay button cell activates Replay, switching all paths within the Replay Set to input 2, regardless of which input they were previously assigned to. Pressing ON again will deactivate Replay and switch all paths in the Replay Set to input 1, see Fig 1.

FIG 1 - REPLAY CONTROLS

CALREC Putting Sound in the Picture 71

INPUT PORT PROTECTION

Input Port Protection is a simple process designed to protect input sources when they are being used by multiple operators across a network.

Audio input sources can be shared by all consoles connected on the same Hydra2 network. All operators can control a shared input using their own console’s input controls, but no operator has direct control of the shared input’s Mic Gain, phantom power (48v) or SRC. To help avoid unwanted or accidental changes, these critical input controls are ‘protected’ using a simple manual process.

If the currently assigned path is using a protected input, a pop-up will appear in the upper left of the PROCESSING mode TFT screens showing the names of all sharing consoles, see Fig 1. If ‘Protected’ appears in this list, as shown above, this indicates that the input has been protected by the network administrator via the H2O GUI (see the H2O user guide for more information).

When the fader assign button is pressed on a path using a protected input, it’s Mic Gain, 48v and SRC controls will appear disabled (greyed out) on the input (left hand) column of all the PROCESSING mode assign layouts.

Controlling a Protected Input Port

To alter a protected input’s Mic Gain, 48v or SRC, simply hold down the corresponding fader’s assign button whilst making the desired change using the usual surface controls.

Loading Shows/Memory/Alias Files

There are implications for protected inputs’ Mic Gain, 48v and SRC settings during the process of loading shows, user memory and aliases. For more information on memories, see “Using

Shows and Memories” on page 172.

If memories are loaded which affect protected inputs, a pop-up appears on the main application screen, see Fig 2 above right.

FIG 1 - SHARED INPUT NOTIFICATION POP-UP - CONSOLE

FIG 2 - INPUT SHARING POP-UP - MAIN APPLICATION

This pop-up contains a table of information to help in deciding which protected input settings, if any, need to be overwritten. All protected inputs are listed, along with the consoles they are shared with, current settings and the potential overwrite settings. There is also a column indicating Alias names, if in use.

The left hand check box column is used to choose which settings to overwrite. Initially all changes are de-selected.

Once selections have been made, the ACCEPT CHANGES button can be pressed to accept the selected changes and prevent changes that are deselected. CANCEL ALL will prevent any settings changes. In both cases the protected input sources will still be patched to the desired console paths, it is changes to Mic Gain, 48v and SRC that are being protected.

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A simple ‘Ports in use by others’ pop-up will also appear on the surface’s Memories screen. This Pop-Up gives the option to ACCEPT CHANGES or CANCEL ALL, allowing full functionality through the surface, but with reduced options and information.

When using this pop-up, there is a second layer of protection which will ask the operator is they are really sure about the changes before being prompted to ACCEPT CHANGES again. See Fig 3.

Remember to ensure you know what the effect of the memory load will be before selecting ACCEPT CHANGES, as this will alter the protected input sources for all operators.

The pop-up in the main application may have 2 stages - Input Sharing and Output Protection. This indicates that the memory to be loaded also contains changes to outputs which are in use by other operators.

See Fig 4, also see “Output Port

Protection” on page 131 for more

information.

FIG 3 - SHARED INPUT NOTIFICATION POP-UP - MEMORIES SCREEN

FIG 4 - INPUT SHARING AND OUTPUT PROTECTION 2 STAGE POP-UP

CALREC Putting Sound in the Picture 73

DOLBY E DECODING

Dolby E decoders are no longer available as an option for fitting in Hydra2 modular I/O boxes. However there are a number of existing mixing consoles that have these fitted.

If fitted, the decoders are patchable and can be used to decode any Dolby E signal being input to any Hydra2 I/O box on the network.

The VO5873 modular I/O card has 2 SDI inputs and 4 slots for Dolby E decoder modules. Multiple VO5873 cards can be fitted within the same or different modular I/O boxes across the network to provide the total quantity of decoders required.

Although physically located on the same card as SDI inputs, the Dolby E decoders are in fact fully patchable in their own right and can be used to decode any Dolby E signal fed into any Hydra2 input on the network, whether it is coming in as an AES pair or is embedded into an SDI or MADI stream.

LED’s A, B, C & D on the front of the module itself illuminate green to show if decoder cards have been fitted in the four available slots on the module.

Passing signals through decoders

Consoles with access to VO5873s will display the Dolby E decoders as I/O ports available for patching in a similar way to regular I/O patching. Unless the I/O lists have been customised, the decoders will appear in the port lists labelled with the ID number for the modular I/O boxes they are fitted in, and like other I/O are ordered by the slot the module is fitted in.

Dolby E encoded signals that are fed to a Hydra2 input port and require decoding should be patched to a decoder. Using the main application >I/O>I/O Patch screen, find and highlight the input port pair being fed with encoded signal in the sources lists on the left side of the screen, see Fig 1, also see “Input Types and

Patching” on page 62 for more details

on I/O patching.

FIG 1 - AES INPUT PATCHED TO OUTPUT PORTS FEEDING A DOLBY E DECODER

FIG 2 - OUTPUT FROM A DOLBY E DECODER PATCHED TO AN INPUT CHANNEL

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Passing encoded Dolby E

If required, Dolby E encoded signals can be routed through the Hydra2 domain without decoding. When patching input ports containing Dolby E encoded signals directly to output ports, it is important to ensure that any sample rate convertors on the incoming signal are switched OFF. An Encoded signal may be input as an AES pair or embedded into SDI or MADI streams and can be patched directly to AES, MADI or SDI outputs irrespective of the format the input is in. Calrec AES and AES within SDI do have sample rate convertors and will be switched in as a default.

To maintain the integrity of the encoded signal, ensure the SRC of the port it is being fed into is switched off. Patching the input ports to a decoder (as well as directly to the required output ports) will automatically switch the SRC off. If required, the patch to the decoder can then be removed, the SRC will stay off. Alternatively, or if no decoders are fitted, the SRC can be switched manually by patching the input port to a channel input (as well as directly to the required output ports). SRC can be switched on and off from the TFT screen of any of the PROCESSING panel modes when the channel is the currently assigned path. The ports can then be removed from the input channel and the port’s SRC on/off status is retained.

Note: DolbyE will not function at sample rates other than base rate i.e. it won’t work at 96kHz.

Click on the Select Destinations button above the destinations table, choose Output Ports from the pop-up menu and then select the port list containing the decoders. Two ports are available for each decoder card for the L & R of an encoded pair. Highlight one of the encoders in the list and patch the L& R input port pair to the L & R of the chosen encoder. The audio from the chosen input ports is now feeding the chosen encoder card.

Then, from the Select Source menu find the list containing the decoder’s output. 8 ports provide inputs to the system from the output of each decoder card. These ports can be patched in the same way as regular I/O ports. To put them on input channel paths, choose My Desk Inputs from the Select Destinations menu, or to pass the decoded audio straight out they can also be patched directly to output ports of any format. Like other input ports, the feed from the decoders can be patched to multiple destinations simultaneously.

Important - sample rate conversion

In order for a DolbyE signal to be decoded, it must NOT be sample rate converted before reaching the decoder. Patching an AES input source, either from a regular AES port or from within an SDI stream to a decoder will automatically turn the sample rate convertor (SRC) off for that specific AES pair at the Hydra2 input stage. For successful decoding, ensure that the signal is not being sample rate converted before it reaches the Hydra2 input, for example by external routers or de-embedders.

The switching of SRC on an input port will affect all instances where that port is being used, including other consoles on the network that may be accessing it. To turn a Calrec SRC back on, or to manually switch on / off, the input itself (as oppose to the decoder) should be patched to an input channel. With the input channel selected as the currently assigned path, SRC switching buttons are available from the TFT screen of any of the PROCESSING panel modes. The on / off status of a port’s SRC is retained after removing it from an input channel.

Once the signal has passed through the decoder it is then automatically sample rate converted to ensure the integrity of the signal through the console. SRC of the decoded signal cannot be turned off.

Important - synchronisation

If an SDI stream is connected to the VO5873, its’ decoder cards will operate using the SDI stream’s frame sync. This is to allow extracted metadata to be aligned relative to the video frame sync. If the card is being fed SDI whilst decoding a signal that is not part of that SDI stream, it is important that the encoded signal has the same sync reference as the SDI stream feeding the card. Failure to ensure this will result in loss of audio and metadata.

Metadata

A connector on the VO5873 front panel outputs metadata extracted by the Dolby E decoder cards.

Please refer to the Hydra2 Installation Manual for the connector pin-out information.

CALREC Putting Sound in the Picture 75

ALIAS FILES

Alias files enable easier setup of input and output configurations when productions move to different studios.

In systems with several studios and control rooms, moving a production causes a change to some of the resources used, but retaining a similar I/O patching scheme. For example changing a show from Studio 1 to Studio 2 is likely to require a similar set of inputs patched to the console channels but coming from a different studio wall box. An alias file provides easy re-patching. Similar alias files also exist for output routing.

Editing alias files

To create or modify an input alias file, go to >Hydra2 Settings>Aliases>Input

Files. With either a new or existing file

open for editing, all the available input ports are shown in the right hand window and can be placed as part of the alias by touching the ‘Add Ports’ button. Once added, the ports can be given a function related name as shown in Fig 1. The commonly used CTRL X, CTRL C and CTRL V for cut, paste and copy can be used to speed the entry of text names. Names must all be unique and any temporary duplicate is shown with a red warning.

Once the alias file for use with one set of ports has been saved, another can be created using an alternative set of ports, assigning matching names for the audio signal to those used in the first alias file. It will often be convenient also to organise the output ports into suitably named Output Alias files.

Aliases at different sample rates

Although the alias is sample rate agnostic the alias is made up from ports that may be at a different rate to the desk. Only ports inside the aliases that are at the same sample rate as the desk will work.

FIG 1 - INPUT ALIAS FILE EDITING

FIG 2 - ALIAS GROUPS

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FIG 3 - ALIAS ENABLING

Alias groups

The display order is alphabetical so to ensure related are adjacent in source lists, ALIAS GROUPS can be created.

These can be thought of as performing a function similar to input sets and within the group, the term SET is again used.

First select the alias file for which groups are going to be assigned and then select the first port that is to belong to that group. Touch ‘Create Group’ and 1 appears in the SET column. Other ports can then be chosen as in Fig 2, either to be added to an existing group, or for a newly created group. This grouping is only of the ports within the alias file and should not be confused with any other form of grouping that may be in use on a console.

Alias mic bus

‘Alias Mic Bus’ allows the ports to be assigned to one or more of the console’s five mic open buses so that studio speaker muting is correctly assigned when the production changes studios.

Enabling an alias file

To make an input alias file active and ready for use, go to ‘Inputs Active’ and using the arrows, placed the required file(s) into the left window of active alias files as in Fig 3. Only files that contain valid input patching can be made active.

When output alias files have been created, they should also be enabled to make them available for use.

Alias patching

To use the routes defined in the input alias file, go to the I/O patching screen.

When filtering the Sources, as shown in Fig 4, all the currently active Input Alias files will be shown, as well as available inputs ports and desk outputs. Output aliases are used in a similar way.

FIG 4 - USING AN INPUT ALIAS

CALREC Putting Sound in the Picture 77

TONE / OSCILLATOR CONTROLS

There are many tone injection points within the Apollo DSP to aid with path checking and line-up.

Tone can be routed in the following ways:

• To a channel or group fader’s input press the fader’s ASSIGN button and select TONE in the lower left hand corner of any PROCESSING mode TFT screen.

• To Track outputs - press the rotary controller for the required track output when in the OUTPUTS panel mode to bring up extra controls including tone switching, then select TONE>TRACK

• To Aux outputs - press the rotary controller for the required aux output when in the OUTPUTS panel mode to bring up extra controls including tone switching, then select TONE>AUX

• To Group Outputs - press the rotary controller for the required group output when in the OUTPUTS panel mode to bring up extra controls including tone switching, then select TONE>GROUP

• To Main outputs - press the rotary controller for the required main output when in the OUTPUTS panel mode to bring up extra controls including tone switching, then select TONE>MAIN

• To Main outputs from the 4 faders on the monitor panel - If main outputs are assigned to these faders, and the panel is not in downmix or spill levels mode, the button just above each fader becomes a tone selector.

Changing the mode of panels or the assigned focus by selecting a different fader or output bus does not clear the tone. Tone will remain until deselected or globally cleared.

FIG 2 - OSCILLATOR CONTROLS

The Oscillator functions provide control over internal tone parameters and allow the option to override the internal tone generator with external or ‘house’ tone.

These controls can be accessed from any fader panel by pressing TOOLS and then OSCILLATOR on any fader panel’s Modes row. The oscillator controls will then be displayed in the Functions row above, as shown in the image below.

Oscillator Parameters

The Functions row provides controls to adjust the internal oscillator’s level and frequency, including a repeating tone sweep function and mute options for each leg of the accessed path:

• Frequency ranges cover the band from 20Hz to 20kHz.

• Level is displayed in both dBFS and dBU.

• The oscillator sweep is stepped and runs from 20Hz to 20kHz.

• The < and > buttons allow you to change the direction of the sweep.

• Pressing and holding ‘1KHz’ or ‘Ref Level’ will reset to the default values.

Note, the default level value is intended to match your regional or chosen running levels and line-ups, e.g for the US, the default lineup setting is -20dBFS/+4dBU whereas for the UK it is -18dBFS/0dBU.

If your line-up levels are not as expected please contact your engineering support or Calrec support at support@calrec.com.

FIG 1 - ASSIGNING TONE TO A BUS OUTPUT

• Panel in Outputs mode shown after Aux 1 rotary control press

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Tone Idents

Ident patterns are used to identify which channel is which to help verify routing and patching. Apollo consoles support three ident formats which can be selected from the ‘Idents’ control cell within the oscillator control row.

‘L ONLY’ is similar to the EBU ident specification. The tone on the left audio channel is repeatedly interrupted whilst the right channel remains constant.

‘L=1, R=2’ is similar to the GLITS ident specification. Tone is repeatedly interrupted on both left and right channels. Each interruption on the left channel is followed by two interruptions on the right channel.

These are stereo idents and will only be applied to tone being injected onto stereo paths / outputs. If tone is selected directly onto a surround output (rather than on a fader routed to an output) the stereo ident will only affect the stereo downmix / encoded output channels.

Only one of the two stereo idents can be selected at any given time.

BLITS ident is for use on 5.1 surround paths and will not affect tone on mono or stereo paths. BLITS ident can be selected / used at the same time as one of the stereo idents.

Four different modes can be selected for the BLITS format, selectable from the control cell to the right.

‘NORM’ is the full BLITS cycle mode First, a short burst of tone is applied to each of the 6 channels, one at a time, in order. Four different frequencies of tone are used at this stage to help ID the channels - L/R outputs at 880Hz, C e n t r e a t 1320Hz , L fe at 82. 5 H z a n d

Ls/Rs at 660Hz. This is followed by 1KHz tone the on L & R legs only. The right channel is continuous, whilst the left channel is repeatedly interrupted. The last stage of the cycle applies 2KHz tone on all 6 channels simultaneously before beginning the cycle again. Each cycle lasts approximately 13 seconds. The different frequencies used also help to identify each part of the cycle, for example if 1KHz can be heard anywhere other than front L/R there must be a problem with routing or patching.

All Idents apart from BLITS can be used in conjunction with the Oscillator sweep function. Selecting BLITS automatically disables the sweep.

External Tone

The ‘EXT TONE’ buttons override the console oscillator, allowing for externally generated tone to be applied for users who have a ‘house’ tone / ident system.

Mono, stereo and 5.1 tone paths are separated to support their idents. External tone can be applied and selected individually to each ‘width’ of tone bus, meaning a mixture of internal and external tone could be used if required.

External tone sources can be fed into any Hydra2 input. The inputs used need to be patched accordingly -

From the main application, >System

Settings>Fixed I/O>Select Destinations

in the upper right area of the screen and choose TONE + TB. From the upper left, ‘Select Source’ and choose the relevant Desk Inputs list for the I/O ports the external tone is connected to. Highlight the blue cell for the correct ‘Ext Tone’ destination, highlight the blue cell for the correct input port and click ‘Patch’ to apply. Repeat for any other sources required.

The destinations side of this page also provides the option to switch in/out sample rate convertors if digital sources are patched or to select phantom power and adjust input gain on analogue inputs, though the analogue settings are normally only changed from their defaults for the Talkback destinations displayed in the same list. For Tone destinations using analogue inputs the default setting is 0dB gain and NO phantom power.

Patches made on this page are automatically saved and remain the same for all memories and shows

Tone Clear

The upper half of the control cell on the far right provides a TONE CLR function. This will clear all tone selections made on the control surface - i.e it will deselect tone switched to channel inputs, bus outputs etc (it does not affect external tone patches and does not turn off the oscillator). This is a convenient way to ensure all paths are passing normal signal and no tone is injected over the path prior to going on air. It is also a convenient method to kill tone in a hurry when the source is not so obvious.

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Tone Patchable to Output Ports

Tone can be selected to multiple points throughout the DSP from channel inputs to bus outputs, and is also available to be patched directly to output ports for use by others. This makes the tone oscillator available as a externally available source without using the DSP.

Tone is available as a source to be patched to output ports from

>My Desk Outputs>Tone Outputs.

See Fig 3.

Tone Troubleshooting & FAQs

No tone present when selected

Selecting external tone will replace the console oscillator whether external tone is present or not. If internal tone is not present when expected, check it is not set to external.

If using external tone, check the correct input ports are patched to the external input (and that the tone generator is connected, on and set correctly) Also check that the oscillator level and frequency are set to suitable values.

Tone on stereo downmixed / encoded outputs lower than expected

When selecting tone to a surround output bus, it is also applied to that buses’ LoRo/LtRt outputs at the same level. This is because tone is being applied at the final output stage. With tone to line selected the signal on LoRo/LtRt is NOT derived from a downmix or encoding of the surround channels. The same level of tone is applied to both the 5.1 and the downmixed output.

Tone on stereo downmixed/encoded outputs higher than expected

If tone is fed from a surround channel / path which is in turn routed to a surround output, the LoRo/LtRt of that output will

generally be of a higher level than that on the surround legs as the LoRo/LtRt output is derived from a downmix of the content on the surround legs as per the downmix settings.

Tone not present or low on Lfe channel of outputs

If tone is routed from a channel to surround main output and signal is not present on the Lfe leg of the output, this is likely due to the default state of surround Main outputs having a high frequency filter switched in on their Lfe leg. Reduce the frequency of the oscillator to around 50Hz to see (and hear) the Lfe channel.

If desired, the filter can be switched out or adjusted by selecting the Main output as assigned, then selecting the Lfe channel from the surround spill panel and adjusting the filters from an EQ panel.

FIG 3 - PATCH TONE TO OUTPUT PORTS

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HYDRA2 PATCHBAYS

Hydra2 patchbays (HPBs) allow console operators to make selected DSP audio outputs available on the Hydra2 network, allowing other Hydra2 users to access them as well as allowing console input sources and output feeds to be changed remotely.

HPBs are virtual patchbays within the Hydra2 domain. Like physical patchbays, HPBs have a number of input ports which are ‘hard wired’ to output ports.

For port patching purposes, Hydra2 Patchbay inputs are destinations and Hydra2 Patchbay outputs are sources, see Fig 1.

When a source is patched to a Hydra2 Patchbay input, it immediately becomes available at the corresponding Hydra2 Patchbay output.

For example, if a console operator patches a direct output to a Hydra2 Patchbay input, the direct output feed becomes available to all Hydra2 users (who have been granted access,) as the corresponding Hydra2 Patchbay’s output.

There are two types of HPB: ‘console specific’ and ‘shared’. Console specific Hydra2 Patchbays are available to the console that they have been created for, plus H2O and 3rd party controllers via SW-P-08.

Shared Hydra2 Patchbays are available to all Hydra2 users who have been granted access, plus H2O and 3rd party controllers via SW-P-08.

Consoles can patch signals to their own or shared Hydra2 Patchbay inputs in the same way they patch to physical output ports.

Hydra2 Patchbays allow network administrators (via H2O) to patch console inputs and outputs (which have been patched to Hydra2 Patchbay ports) to physical I/O ports.

H2O users can choose physical input ports to connect to console’s Hydra2 Patchbay inputs, and physical output ports to connect to console’s Hydra2 Patchbay outputs allowing them to choose and change console feeds and output destinations.

External routers supporting the SW-P-08 protocol can also have access to Hydra2 patchbays enabling 3rd party control over console patching.

Hydra2 patchbays are created from the H2O user interface. See the H2O user guide for more information.

FIG 1 - HYDRA2 PATCHBAYS

HPBs and different sample rates

From version 8.0 Hydra2 patchbays can be configured to operate at 48kHz, 96kHz or follow the sample rate of a particular console when it loads a show. See “I/O

Boxes & Hydra Patchbays Sample Rate Selection in H2O” on page 54

A Hydra2 Patchbay set to a different rate than the desk will behave in the same way as ports at different sample rates to the desk. See the H2O user guide for more information.

Once created, Hydra2 patchbays are available for patching, they appear ‘online’ in the >Hydra2 Settings>Edit Network screen of main application from where they can be added to the console’s Required List for use in port patching.

CALREC Putting Sound in the Picture 81

Port Sharing

Input and output port protection works as normal when dealing with Hydra2 Patchbays for both console and H2O users. In situations when two or more consoles are using the same feed from a Hydra2 Patchbay (as shown in Fig 2) it is possible for one console to change the patching of the other by changing the I/O box port which is feeding the shared Hydra2 Patchbay input, either through a Memory load, or through changing the individual patch.

In these circumstances it is important that the console operator understands the contents of the Input/Output protection dialogue before accepting any changes, as these changes directly affect other network users.

Console operators are given the ability to change the source feeding a HPB that is feeding other consoles to add increased flexibility. However we advise that all I/O box port to Hydra2 Patchbay input patching is controlled from H2O or a third party controller to avoid unwanted changes to other console’s source feeds.

Unpatching

Under normal circumstances when I/O box ports are unpatched, their input settings (Mix Gain, SRC. 48V) are reset to their default values. However, when using Hydra2 Patchbays it is possible to unpatch a port at two points in the signal chain, as shown in Fig 3 on the right.

If the port is first unpatched at point 2, the I/O box port’s input settings will be retained, even when the port is also unpatched at point 1.

FIG 3 - HYDRA2 PATCHBAY - UNPATCH

FIG 2 - HYDRA2 PATCHBAY - CONSOLE PATCHING CHANGE

82 APOLLO Digital Broadcast Production Console

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Putting Sound in the Picture

APOLLO

PROCESSING AUDIO

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CHANNEL SIGNAL FLOW

Fig 1 below illustrates the signal flow in an Apollo channel path, showing how Inserts, EQ, Dynamics, Path Delay and the relevant send and output points can be positioned within the signal path.

FIG 1 - CHANNEL SIGNAL FLOW

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EQ AND FILTERS

EQ is available on all paths without restriction. Each path has access to six full range, fully parametric, switchable response EQ bands.

Each EQ band has a frequency range from 20Hz to 20kHz and can have either a high-pass filter, low shelf, notch, bell, high shelf or low-pass filter response. See Fig 1.

Given the flexible and configurable nature of the surface, the EQ control layouts used here are available on both the PROCESSING-OVERVIEW mode which was briefly described in the CONTROL PANEL MODES section and the PROCESSING-EQUALISER mode as shown and described here in greater detail. These controls would only affect the currently assigned path.

On/Off

Buttons in the left button cell switch all bands 1-4 on or off together and bands 5 and 6 on or off together.

A & B alternate EQ Settings

Two EQ curves can be created per channel using the EQ Settings A & B buttons on the TFT screen. Tapping these flips between the two EQ curves for quick EQ changes or comparisons. The Copy EQ Settings buttons on the TFT screen copies EQ A > EQ B or EQ B > EQ A.

Reset EQ A and Reset EQ B

Holding the Reset EQ A or Reset EQ B buttons for a second will reset the gain, frequency and response (and Q where applicable) for all EQ bands.

Gain

The left column of Control cells contains gain controls (where relevant) for all six bands.

FIG 1 - EQ CONTROLS ON THE PROCESSING-EQUALISER ASSIGN MODE LAYOUT

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Frequency

Each band has a full frequency range from 20Hz to 20kHz. This is controlled by the middle rotary control on each row.

Response

Pressing the RESP button for any band in the right column of Control cells allows the rotary control to scroll through the available response types. The button will be lit during this process. Once the response has been chosen it can be selected by pressing the button a second time. When the RESP button is not pressed, the rotary doubles as the Q control. Fig 2 shows the Response Types and parameters

EQ curve display

The touchscreen shows a graphical representation of the current EQ curve for the assigned channel. With its band markers, numerical values and response type.

Note that a thumbnail view of the EQ curve is also made available in the PROCESSING-EQ button cell selector.

Range Q

High Pass Filter

N/A 12 dB/octave

Low Shelf

+18dB to -18dB Variable 6dB/octave

Notch

-30dB Fixed 22.2

Higher Mid

Frequency Bell

+18dB to -18dB Variable 0.3 to 10

Lower Mid

Frequency Bell

+18dB to -18dB Variable 0.3 to 10

High Shelf

+18dB to -18dB Variable 6dB/octave

Low Pass Filter

N/A 12 dB/octave

FIG 2 - EQ PARAMETERS

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DYNAMICS 1

FIG 1 - DYN CONTROLS ON THE PROCESSING-DYN 1 ASSIGN MODE LAYOUTEvery channel / group / main path

has to two dedicated dynamics processing units that are always available to them. Dynamics 1 shown right provides a Compressor / Limiter and Expander or Gate.

Dynamics controls

The dynamics controls and related displays are all located in the PROCESSING-DYNAMICS 1 panel mode, as shown in Fig 1.

Dynamics controls and displays are all colour-coded purple. The controls are arranged in 3 blocks:- Compressor /Limiter controls for ON, Threshold, Ratio, Attack, Recovery and Gain Make-up. Expander or Gate controls for ON, Threshold, Ratio, Attack, Recovery and Depth and 2 bands of Dynamics sidechain EQ controls for Gain, Frequency and Q / Response types.

The TFT screen displays a graph of input level versus output level along with switchable gain reduction meters, the position of the Dynamics 1 processing in the Signal Path and switches for control and gain reduction independence of legs for stereo and 5.1 path legs. With SCEQ selected on the TFT screen, it also displays the EQ curve for the dynamics 1 side-chain. Also shown are the 8 Dyn Links selector which this path can be linked to or can be left as No Link for independent operation .

Both dynamics 1 & 2 can be used as limiters simply by switching the compressor in and setting the ratio to the maximum of 50:1. At this setting, the input has to increase by 50dB above the threshold in order for the output to increase by a negligible 1dB - the signal is effectively being limited.

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The Expander in Dynamics 1 can be switched to perform as a gate by pressing the Gate button in the 4th control cell in the bottom control row of the wild assign panel.

Processing order

Buttons on the TFT screen allow each dynamics unit to be selected to operate post fader, pre fader (post EQ) or pre EQ (pre fader).

Dynamics metering

In addition to the gain reduction meters shown in the panel mode TFT area which show the status of the currently assigned path, dynamics gain reduction meters are also displayed for each path in the upstand metering area above. These upstand meters can be switched between displaying Dynamics 1 and Dynamics 2 using the panel TOOLS>METERS menu found in the layers row, to bring up the options in the functions row above.

Dynamics gain reduction meters light upwards, away from the zero point, in a red colour to indicate the amount of gain reduction being applied due to compression. Where expander / gates are available (Dynamics processor 1), the same meter bar will light downwards, away from the central zero point, in a green colour to indicate gain reduction due to gating or expansion.

If a surround master is the currently assigned path on the control surface, the panel mode area of the TFT will display gain reduction bargraphs for each of the surround elements. In addition, ‘C’ & ‘S’ indicators above each meter show whether each surround element has dynamics control and / or gain reduction independence from the surround master.

Sidechain EQ

The ‘SC EQ IN’ button in the 8th control cell in the bottom row of the wild assign panel is used to switch sidechain EQ in and out.

Pressing the sidechain ‘LISTEN’ button in the same cell allows the user to listen to the effect that the sidechain EQ is having on the signal. As with regular EQ bands, you can select various response types by pressing RESP and turning the related shaft encoder. The remaining controls change according to the response chosen.

The EQ response curve for the side-chain can be viewed by selecting SCEQ ON from the TFT screen on the left of the EQ curve or from the panel as described.

About Dynamics Sidechain & EQ

All Dynamics 1 processors have optional sidechain EQ. Channels have 2 band of SCEQ, whilst Groups and Mains have a 1 band of SCEQ.

The sidechain is an offshoot from the audio path through the Channel / Group / Main. Dynamics processors use the sidechain to determine the audio level and then apply gain reduction to the ‘through’ audio path. Sidechain audio is not passed on, it is used purely as a reference for dynamics processors.

Applying EQ to the sidechain does NOT change the relative frequency response of the audio path though the console, only the audio that ‘triggers’ the dynamics.

By applying EQ to the sidechain you can tune the dynamics to act on or ignore peaks depending on the frequency. For example, a basic ‘De-Esser’ used to reduce sibilance is a compressor

with a high pass filter on the sidechain. The compressor only receives the high frequency content and will therefore only apply gain reduction if high frequency content exceeds the threshold setting.

Dynamics Links

The compression gain reduction level of multiple paths can be bussed together using dynamics links. Paths that share a common dynamics link, will all get the same amount of gain reduction applied. If the signal level on a path, combined with the path’s compression settings causes it to apply gain reduction, the same amount of gain reduction will be applied to all other paths using the same dynamics link, irrespective of their own audio content and compression settings.

If multiple paths are triggering compression, the gain reduction across the linked group will be the same as whichever path is compressing the most. For example, if the settings and audio level of one path causes its compressor to apply 5dB of gain reduction, and another path is causing 10dB of reduction, all the paths in the group will have their signals reduced by 10dB.

When Expander/Gate units are part of a dynamics link and one feed within the link reaches the threshold level to open the expander/gate, all expander/gates within the link open regardless of the levels of their feeds.

Fig 2 shows the available parameters for the Dynamics Processors.

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Compressor

Threshold

+20dB to -20dB

Recovery

75ms to 4s + Auto

Ratio

1:1 up to 4:1 in 0.1 steps, 4:1 up to 10:1 in 0.2 steps, 10:1 up to

20:1 in 1.0 steps, 20:1, 25:1, 30:1, 35:1, 40:1, 50:1 (Limiter)

Attack

50µs to 200ms (5ms default)

Make Up Gain

0dB to 20dB

Expander

Threshold

+10dB to -40dB

Recovery

75ms to 4s + Auto

Depth

0dB to 40dB

Ratio

2:1 and Var (variable according to level)

Attack

300µs (fast) 16ms (normal)

FIG 2 - DYNAMICS PARAMETERS

Gate

Threshold

0dB to -40dB with 6dB hysteresis

Recovery

75ms to 4s + Auto

Depth

0dB to 40dB

Attack

300µs (fast) 16ms (normal)

Gate Delay

0s to 1s

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DYNAMICS 2

Every channel / group / main path has two dedicated dynamics processing units that are always available to them. Dynamics 2 shown right provides a second Compressor / Limiter or can be retasked to provide AutoMixer Processing

Dynamics 2 controls

The Dynamics 2 controls and related displays are all located in the PROCESSING-DYNAMICS 2 panel mode, as shown in Fig 1.

Dynamics controls and displays are all colour-coded purple. The controls are arranged in 1 block:- Compressor /Limiter controls for ON, Threshold, Ratio, Attack, Recovery and Gain Make-up.

The TFT screen displays a graph of input level versus output level along with switchable gain reduction meters, the position of the Dynamics 2 processing in the Signal Path and switches for control and gain reduction independence of legs for stereo and 5.1 path legs. Note in this image a Mono Path is being displayed so no independence controls are on show. Also shown are the 8 Dyn Links selector which this path can be linked to or can be left as No Link for independent operation .

Mono paths also allow the Dynamics 2 process to be replaced with 1 of 8 Automixers which are selected from the TFT screen.

FIG 1 - DYN CONTROLS ON THE PROCESSING-DYN2 ASSIGN MODE LAYOUT

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AUTOMIXER

Automixers are designed to control audio levels for shows where there are multiple guests or presenters talking together. Automixers adjust the individual microphone levels automatically and dynamically in order to pick out the people speaking, and to reduce the level of people that are not speaking, whilst maintaining consistent overall mix and ambient levels. In reality, Automixers only ever apply attenuation, signals are never actually boosted.

Automixers are available on Calrec Apollo & Artemis consoles running software V1.12 and higher.

Each mixing console has 8 separate automixers, each of which can control any number of mono input channels and mono audio group buses on the control surface. Stereo and surround paths, and outputs or buses other than groups cannot be assigned to automixer control.

Automixers are embedded within the ‘Dynamics 2’ processing unit and are assigned using the same menu as the dynamics side-chain links. See Fig 1.

Paths assigned to automixer control cannot use the Dynamics 2 processor for normal compression / limiting at the same time, however the Dynamics 1 processor is still available for full use as compressor / limiter and expander or gate.

Assigning control

To assign a path to automixer control, select the PROCESSING-DYNAMICS2 panel mode. In this mode, the TFT screen displays the settings for the Dynamics 2 processors. Call attention to the chosen path by pressing its fader assign button. Select one of the eight Automixer modes for the dynamics 2 processor by pressing one of the buttons on the TFT screen note that these only appear on Mono paths - if the path is not currently assigned to an automixer or dynamics 2 side-chain link,

the ‘No Link’ button will be lit. Select the other faders that need to be in the same automix group and assign them to the same automixer number.

To clear a path from automixer control (and side-chain links), select ‘No Link from the Dyn Links area on the TFT screen. To place the path under the control of a different automixer, simply select a different numbered automixer.

Gain reduction metering

The Dynamics 2 display area shows a gain reduction bargraph meter and the In / Out status of the control for the currently assigned path. Upstand bargraph meters for fader inputs will automatically also show an automixer gain reduction meter for each path assigned to an automixer, as shown in Fig 3 on the following page.

A number at the bottom of this meter indicates which of the 8 automixers is controlling a path. Automix gain reduction

meters are distinct in colour and display from standard dynamics gain reduction meters. If the automixer is not applying gain reduction to a path, its meter will display full scale to the 0 point.

When gain reduction applied, the meter drops to indicate the amount it’s being reduced by. See Fig 3 on the next page for an image of the Automixer metering in the meter bridge.

Adjustment controls

The automixer controls appear when one of the eight automixers have been selected. Buttons on the same TFT screen allow for the processing to occur post fader, pre fader (post EQ) or pre EQ (pre fader).

When viewing Dynamics 2 controls with the currently assigned path assigned to an automixer, control cells on the panel provide two sets of controls, some for the Automixer as a whole and some for the individual assigned path.

FIG 1 - AUTOMIXER CONTROLS ON THE PROCESSING-DYN2 TFT SCREEN LAYOUT

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ATTACK and RELEASE affect how the Automixer module reacts to all assigned paths. These controls are used for ‘smoothing’ out incoming signals, faster attack and release times lead to a faster reacting but therefore more erratic automixer, whereas, slower attack and release times lead to a slower reacting but smoother effect.

Individual paths can be placed in and taken out of the assigned Automixer by enabling and disabling the corresponding IN button.

Each Automixer can be disabled and enabled using the DISABLE button in the control cell to the right of the Automixer Attack and Release settings. See Fig 2 for automixer controls.

Weight and levels

The Automix weight control allows the emphasis to be set for each input, the higher the weight of an input relative to the others, the higher the signal that passes from that input, e.g to give more emphasis to a presenter over guests when they are talking at the same time.

As an example, if only one fader within an automixer group has audio content, no gain reduction is applied to that input and its automix meter will display full (0dB). If only two faders have audio, and the audio is at the same level (e.g tone for test purposes), 6dB of gain reduction is applied to each, maintaining the same overall mix level when the signals are routed to the same bus. If one of the two paths is set to have a 10dB higher weight than the other, the same overall level is still passed when they are mixed, however the higher weighted path will only be reduced by 2dB, whilst the lower weighted one will be reduced by 12dB. Note, these values are given only as an example that can be clearly demonstrated on a console using tone.

FIG 2 - AUTOMIXER CONTROLS ON THE PROCESSING-DYN2 PANEL LAYOUT

FIG 3 - UPSTAND METERS

• The meters above show an example of 2 mono channels under automix control. Both channels are fed with identical input audio and are routed to Main 1.

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DELAY

Delay can be inserted into the signal path in the following ways:

• Input delay - up to 2.73s available per input path from a pool of 256 mono legs (e.g when assigning to a 5.1 signal, 6 of the 256 mono legs will be used). This can be assigned from the PROCESSING-DELAY panel

• Path delay - up to 2.73s always available for all paths from the PROCESSING-DELAY panel which can be placed, pre-eq, pre-fader or post fader.

• Output delay - up to 2.73s available per path from a pool of 256 mono legs this delay can be applied to Direct Outputs, Mains, Tracks and Auxs when assigned to the surface from the Bus Output panel.

Note that Input, Path and Output delay can be used individually or in combination. See Fig 1.

Assignable Delay at different sample rates.

From version 8.0 the desk can be configured to operate at different sample rates such as 48kHz & 96kHz.

At the higher sample rate the pool size for input and output delay is halved, meaning that the pool of 256 mono legs worth of delay becomes 128 mono legs of delay, however the amount of delay per leg remains unchanged at 2.73s.

Individual Assignable Delay

To apply an assignable delay, select the PROCESSING-DELAY panel mode and press the appropriate assign button (Input or Output) on the lower control row. Note that for direct outputs the outputs themselves have to be assigned first before delay can be assigned to them.

Individual Path Delay

The Path Delay control is always available on all Channel, Group, Main, Aux or Track paths and can be placed, pre-eq, pre-fader or post fader using the Position buttons in the PATH DELAY column on the TFT screen. Working from the top of the

FIG 1 - DELAY CONTROLS ON THE PROCESSING-DELAY ASSIGN MODE LAYOUT

position block, the TFT shows a threestate button cell which allows the signal chain positioning to be changed between PRE EQ, PRE FADER and POST FADER. As shown in “Channel Signal Flow” on

page 84, path delay is inserted at the

end of the processing block, after insert, dynamics 1 and dynamics 2. The pre EQ and post fader sends are situated after the respective path delay, but it is worth noting that the pre fader send is situated prior to the pre fader path delay.

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DELAY SETTINGS

FIG 1 - ASSIGNING DELAY WHEN A PATH IS NOT ASSIGNED TO A FADER

FIG 2 - GLOBAL DELAY CONTROLS - MAIN APPLICATION

Once Input or Output Delay is assigned (or for Path Delay already present), the rotary controls and up/down stepper buttons for use as an alternative to the rotary controller for setting the delay time become available to the user.

The TFT screen shows the Delay Units either in Time format in milliseconds / seconds or Frame format which can be set for each delay type from the screen buttons.

The current delay settings and ON / OFF status are shown at the bottom of the screen. See Fig 1 on the previous page for the Delay processing mode.

Assigning Delay to a Path w h i c h i s n o t a t t a c h e d t o a F a d e r

To assign Delay to a path which is not assigned to a fader, put a panel into OUTPUTS mode and press on the rotary controller associated with that output.

This brings up the selected bus controls within the Wild Assign row, on which there is an assign button. Press this assign button and then assign delay in the usual way from any surface panel that is in PROCESSING-DELAY mode, see Fig 1.

Global Delay Settings

Global delay controls can be accessed from the main application by selecting:

>Show Settings>General Settings

There are three global delay settings as shown in Fig 2 on the right.

Default Delay Unit sets the resolution type for all new delay assignments, the interface is a two state button to switch between ‘ms’ and ‘frames’. This ‘ms’/’frames’ selection can be applied to a l l e x i s t i n g d e l a y a s s i g n m e n t s b y c l i c k i n g ‘Apply to all existing delays’.

The Frame rate selection button is used to set the video frame rate for all framebased delay assignments. The frame rate should be set to match the frame rate of the video signal that the audio feed is related to.

Finally there is the Frame Step Size selection button which sets the resolution of the stepper button within the surface pop-up shown above. There are two options: 1 frame and 0.5 frames.

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STEREO WIDTH

Stereo paths and stereo legs of surround paths have access to the stereo width control.

This control varies the width of the paths stereo image from mono through stereo, through to wide. Wide creates an apparent extension of the image past the usual left and right limits.

Stereo width appears pre fader, post EQ and dynamics in the processing chain and it’s rotary control and ON switch appears on the PROCESSING-OVERVIEW panel mode. It must be switched in circuit using the ON button in the 4th Control cell , top row as shown in Fig 1.

FIG 1 - STEREO WIDTH CONTROL

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STEREO/SURROUND SPILL

Apollo makes very efficient use of surface controls for accessing and controlling stereo/surround signals.

Whether controlling mono, stereo or surround signals, only one fader is required on the surface for global manipulation and application of signal processing to the complete collection of paths that make up that signal. For a stereo signal, two mono paths are required and controlled simultaneously by a single fader. For surround signals, six or more mono paths are required and controlled simultaneously by a single fader.

Under normal circumstances this provides an extremely quick way to alter the level of, or assign processing to all component paths of a given signal. However for times when more flexibility or greater control of individual component signals is required, the signal can be expanded onto the spill faders.

Accessing the spill faders

On the dedicated monitor panel, shown in Fig 1 (or the Joystick panel which has the exact same upper section as highlighted right) press the SPILL LEVELS button. This upper section will now allow access and control of the individual legs of a stereo or surround path via the spill faders.

Spill faders

The spill controls follows the currently assigned path. When a fader which controls a stereo or surround signal is selected as the currently assigned fader, the spill panel updates to reflect the status of the component signals. If the assigned fader controls a mono path, the spill panel will become unavailable until a fader controlling a stereo or surround path is assigned.

The faders on the spill panel behave in the same way as every other fader on

FIG 1 - SPILL CONTROLS

the surface. They have the same assign buttons above and below the fader label display, the same AFL, PFL and cut buttons and the same bar graph meters. They can be assigned in the same way as any other fader and by doing so, individual control of the processing of a specific component path is possible.

Depending on the width of the signal present on the assigned fader, the component signals will be arranged differently on the spill faders. Stereo components of a surround signal such as L-R and Ls-Rs are normally grouped together and controlled by a single spill fader, whereas mono components such as LFE are present on their own fader.

In spill mode with a stereo path selected, the first two faders control the left and right channels. The fader label displays above each fader list the available component paths which may be split between the A and B paths. These are accessed and behave in the same way as all other A and B paths on the surface.

Current spill panel assignment

The fader label display above the currently assigned fader is mirrored below the right most spill fader. This can be used to change the path assignment between the A and B paths on that same fader without leaving the spill controls.

The spill controls can be set to follow the current path assignment, or they can be locked to a specific path. This function can be changed by pressing either the FOLL A/B or LOCK buttons respectively. If the path controlled by the spill faders is locked, the fader label display on the spill panel will not follow the path assignment on the surface. It will display the locked path as an indicator of which path is being controlled by the spill panel.

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FIG 2 - SEL USER

Nudge

The spill controls contain a function that will nudge the current path assignment along the surface in either direction. Pressing the right nudge button changes the fader assignment to the fader on the right of the currently assigned fader. The left button moves the assignment to the left along the surface.

Changing the user section

When multiple operators are using the surface, it is possible for any of them to access the spill controls for paths assigned in their own user sections.

Press the SEL USER button in the lower button cell of the spill control area as shown in Fig 2 below. This will update the rest of the control cell display to display the three user sections. Press the button corresponding to the required user section that the spill controls should respond to and then press the SEL USER button again. The chosen user section should now be shown in the middle of the display and the spill faders should respond to that users path assignments.

Assigning paths on the spill panel

When a stereo or surround path is accessed on the spill panel, each leg of the signal may have processing applied to it individually. Individual legs may be assigned using the assign buttons above each spill fader in the same way that paths on the normal faders are assigned.

When a path on a spill fader is assigned, the assign button of the parent stereo/ surround path will still appear blue but will also strobe. This indicates that any assign modes will affect a single component of the stereo/surround signal, rather than the whole signal.

Main paths on Monitor/Joystick panel

When the faders on the Monitor or Joystick panels are switched into ‘Mains’ mode (rather than Spill or Downmix mode) and a Main path on one of these faders is assigned, it is not possible to switch the mode of the faders on the same panel and use them to alter the spill legs of the assigned main. The function of the faders cannot be switched unless a path from a normal fader or another Monitor or Joystick panel is assigned. This is intended to avoid the confusion of having a single fader indicate the assigned path and the relevant spill leg at the same time.

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PROCESSING INDEPENDENCE

Processing independence

By default on a stereo or surround path, any processing is applied to all legs in the path (with some exceptions discussed later). One set of master controls set the processing applied to all legs. However, processing can be made independent for an individual leg of a stereo or surround signal, for example the C leg of a 5.1 path.

A surround path which is being processed will be referred to as the surround master in the following example. Note that a stereo path can be treated similarly.

EQ independence

By default, the EQ set on the surround master is applied to all legs of the path except the LFE leg.

Independence can be set for each band of EQ. Fig 1 shows EQ controls for the LFE leg of a surround channel set to be independent. Also note the Reset Independence EQ button on the TFT screen this resets the values to default for legs set to be independent, it does not remove their independence.

To apply independent EQ to an individual leg of the path, first assign the required leg on the spill faders (see “Stereo/

Surround Spill” on page 96 for further

information on this process).

Now in PROCESSING-Overview mode or PROCESSING- EQ mode press the INDEP button next to the EQ band (shown right) you wish to make independent for the assigned leg. This band can now be adjusted to process the assigned leg independently from the assigned surround master. EQ bands still following the surround master settings will display the text S.MSTR see Fig 1- EQ Band 3 (right).

Adjustments to EQ bands still following the surround master will also affect all other legs in the path.

Note that switching off the Equaliser independence of an EQ band restores its the Surround Master Path settings.

FIG 1 - EQ INDEPENDENCE CONTROLS

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Dynamics independence

By default, the DYN settings on the surround master is applied to all legs of the path except the LFE leg.

Dynamics of individual legs can be made independent from the surround master in two ways. Fig 2 shows an LFE leg of a surround path made independent.

The independence over dynamics settings for the assigned surround element are switched for control and sidechain independence for stereo and 5.1 path legs on the PROCESSING-DYNAMICS mode TFT screen as shown right.

The first way to make a given leg e.g. LFE dynamics processing independent is to make the gain reduction independent.

Under normal circumstances, any leg of the surround signal which crosses the threshold first determines the amount of processing to be applied to all legs equally. For example, if the C leg has the highest level and is the only leg to cross the compressor threshold, it will have a certain amount of gain reduction applied to it. This same amount of gain reduction is also applied to all other legs even if they didn’t cross the threshold. This keeps the relative balance of the sound field intact.

By making the dynamics gain reduction linking independent for a given leg, that leg will only have gain reduction applied when it crosses the threshold itself. The control values remain common with the surround master, but the leg will be processed independently.

To make the dynamics gain reduction linking independent, assign the required leg of the surround master go to:PROCESSING - DYN1 mode and tap the DYN1 gain reduction independence button (or the PROCESSING-DYN2 mode equivalent to make the second dynamics unit linking independent). This is shown on the right hand side of the TFT screen.

The second way to make dynamics processing independent is to make the control values independent for a given leg. This would mean that any leg in the surround master can have different dynamics controls. If the dynamics linking is not made independent, the paths would be processed according to the first path to cross the threshold, but their thresholds and other parameters may be set independently.

It is possible to have both dynamics linking independence and control independence set for individual legs. For example, a surround group or main path may contain a 5.1 sports mix with a commentator in the C leg, and crowd, music and effects signals in other legs. Using Apollo’s flexible processing section it is possible to compress the commentator independently from the signal in the surround legs. This provides Apollo with a very flexible processing section, able to handle almost all situations with ease. To make the dynamics controls independent, assign the required leg of the surround master go to:- PROCESSING - DYN1 mode and tap the Control Independence button (or the PROCESSING-DYN2 mode equivalent to make the second dynamics unit independent). This is also shown on the right hand side of the TFT screen.

FIG 2 - DYN INDEPENDENCE CONTROLS

When gain reductions are linked, but control is independent, different dynamics parameters, such as threshold and ratio can be set for the elements, but the same amount of gain reduction will be applied to all gain reduction linked elements if the audio on any of them crosses their threshold settings. This allows for different dynamics settings to be applied to each element whilst maintaining the overall mix level between them. If gain reduction independence is set for an element, gain reduction will only ever be applied to that element if the audio if its own audio crosses its own threshold settings.

As well as EQ & dynamics, other settings can be applied to elements of a stereo/ surround path that do not require an independence setting, such as input gain and routing. These parameters can simply be selected or adjusted whilst the stereo/ surround element is the currently assigned path.

By default the LFE leg of a surround path has independent EQ and dynamics from the surround master.

Note that switching off the Dynamics Independence for that control restores its Surround Master Path settings.

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FIG 3 - INDEPENDENCE INDICATORS

Independence status indicators

The status of EQ bands 1-6 equaliser Control independence and DYN1 or DYN2 dynamics Control and/or gain reduction independence is indicated on the monitor and/or joystick panel. When a surround path is assigned and the faders on the monitor or joystick panel are set to show spill or downmix levels, the two displays highlighted on the right show a blob next to any processing which has been made independent. See Fig 3.

By default all the controls for an LFE leg of a 5.1 channel are made independent.

Calrec Apollo Operator's Manual

Specifications and Main Features

Frequently Asked Questions

User Manual