DiGiCo D5T User Manual

Operation Manual

Issue A, September 2004 (Software Versions 2.4+)

No part of this publication may be reproduced, transmitted, transcribed, stored in a retrieval system, or translated into any language in any form by any means without the written permission of Digico UK Ltd. Information in this manual is subject to change without notice, and does not represent a commitment on the part of the vendor. Digico UK Ltd shall not be liable for any loss or damage whatsoever arising from the use of information or any error contained in this manual.

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Manual Issue and Date: Issue A - September 2004 - For Version 2.4+ Software

Licence Agreement

"Product": D5T software product produced by Digico UK Ltd intended for use on Target Platform identified below. "Target Platform": Digico D5T Digital Console system.

In return for the payment of the one-time fee, the Customer (identified at the end of this Agreement) receives from Digico UK Ltd a licence to use the Product subject to the following terms and conditions.

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LIMITED WARRANTY - Digico UK Ltd warrants for a period of 1 year from the date of purchase of the Product, the Product will reasonably execute its programming instructions when properly installed on the Target Platform. In the event that this Product fails to execute its programming instructions during the warranty period, the Customer's remedy shall be to return the Product to Digico UK Ltd for replacement or repair at Digico UK Ltd option. Digico UK Ltd makes no other express warranty, whether written or oral with respect of this Product.

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This agreement is made under the Laws of England.

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LIMITED WARRANTY. Embedded System Manufacturer warrants that (a) the SOFTWARE will perform substantially in accordance with the accompanying written materials for a period of ninety (90) days from the date of receipt. Any implied warranties on the SOFTWARE are limited to ninety (90) days. Some states/jurisdictions do not allow limitations on duration of an implied warranty, so the above limitation may not apply to you.

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and Soundtracs PLC.

D5T Contents

1.1 The Console ...................................................................................... 1-3

1.2 Hardware Configuration ................................................................... 1-4

1.2.1 Connections .................................................................................. 1-4

1.2.2 The DiGiConfig Program .............................................................. 1-5

1.3 Getting Started .................................................................................. 1-6

1.3.1 The New Session Panel................................................................ 1-8

1.3.2 Consoles and Racks .................................................................... 1-8

1.3.3 Selecting an Input Source ............................................................ 1-9

1.3.4 Routing the Channel Signal ....................................................... 1-11

1.3.5 Routing Busses To Outputs ...................................................... 1-12

1.3.6 Matrix Inputs ............................................................................... 1-13

1.3.7 Matrix Processing ....................................................................... 1-13

1.3.8 Routing Matrix Groups To Outputs ........................................... 1-14

1.3.9 Save As New File ........................................................................ 1-16

1.3.10 Save Session............................................................................. 1-16

1.3.11 EQ............................................................................................... 1-17

1.3.12 Dynamics ................................................................................... 1-17

1.3.13 Auxiliaries .................................................................................. 1-18

1.3.14 Control Groups ......................................................................... 1-19

1.3.15 Master Fader Banks.................................................................. 1-20

1.3.16 Monitoring ................................................................................. 1-21

2.1 The Input Channels .......................................................................... 2-3

2.1.1 Channel Assignment .................................................................... 2-3

2.1.2 Worksurface Channels ................................................................. 2-3

2.1.3 Input Screen - The Standard View ............................................... 2-4

2.1.4 Input Meters .................................................................................. 2-4

2.1.5 Assigning a Channel .................................................................... 2-5

2.2 Expanding a Processing Module ..................................................... 2-5

2.2.1 Input Module ................................................................................. 2-6

2.2.2 Equaliser Module .......................................................................... 2-8

2.2.3 Dynamics Module ....................................................................... 2-10

2.2.4 Pan / Aux Module ...................................................................... 2-12

2.2.5 Routing Module .......................................................................... 2-14

2.2.6 The ALL Button ........................................................................... 2-17

2.2.7 Undo / Redo Button .................................................................... 2-17

2.2.8 Channel LCD Function Buttons ................................................ 2-17

2.3 Ganging ........................................................................................... 2-20

2.3.1 Creating a Gang .......................................................................... 2-20

2.3.2 Clearing or Editing a Gang ........................................................ 2-20

2.3.3 How a Gang Works ..................................................................... 2-20

2.4 Layout .............................................................................................. 2-21

2.4.1 External Screens ......................................................................... 2-21

2.4.2 Overview Setup ........................................................................... 2-22

2.4.3 Channel Banks ............................................................................ 2-22

2.4.4 Master Banks .............................................................................. 2-23

2.4.5 Move Channels ........................................................................... 2-24

2.4.6 Copy Channels............................................................................ 2-24

2.4.7 Duplicate Channel ...................................................................... 2-25

2.4.8 Channel Overview ....................................................................... 2-26

3.1 Busses and Outputs ......................................................................... 3-3

3.1.1 Buss Outputs Display .................................................................. 3-3

3.1.2 Expanding the Buss Output View ............................................... 3-4

3.2 Output and Buss Controls ............................................................... 3-4

3.2.1 Label .............................................................................................. 3-5

3.2.2 Buss Control Button..................................................................... 3-5

3.2.3 Level Trim ...................................................................................... 3-6

3.2.4 Limiter ............................................................................................ 3-6

3.2.5 Mute ............................................................................................... 3-6

3.2.6 Meters ............................................................................................ 3-6

3.2.7 Output Channel Routing .............................................................. 3-6

3.2.8 Buss Signals as Input Sources ................................................... 3-7

3.2.9 Headphones .................................................................................. 3-7

3.2.10 Output Insert ............................................................................... 3-7

3.3 The Matrix.......................................................................................... 3-8

3.3.1 Matrix Inputs ................................................................................. 3-8

3.3.2 Matrix Processing ......................................................................... 3-8

3.3.3 Routing Matrix Groups To Outputs ............................................. 3-9

4.1 Master Section .................................................................................. 4-3

4.1.1 The Master Screen ........................................................................ 4-3

4.1.2 The Menu Buttons ........................................................................ 4-4

4.1.3 Console Security .......................................................................... 4-5

4.1.4 Consoles and Racks .................................................................... 4-5

4.2 Configuring the Console .................................................................. 4-6

4.2.1 Session Files Menu ...................................................................... 4-6

4.2.2 The New Session Panel................................................................ 4-6

4.2.3 Clearing Settings .......................................................................... 4-7

4.2.4 The Load Session Button ............................................................ 4-7

4.2.5 The Save As New File Button ...................................................... 4-8

4.2.6 The Save Session Button............................................................. 4-8

4.2.7 USB Data Port ............................................................................... 4-8

4.2.8 Managing Presets ......................................................................... 4-8

4.2.9 Monitoring ..................................................................................... 4-9

4.2.10 Master Section Meters .............................................................. 4-11

4.2.11 Meter Bridge Options ............................................................... 4-11

4.2.12 Meter Ballistics ......................................................................... 4-12

4.2.13 Restart and Recovery ............................................................... 4-12

4.3 Talkback .......................................................................................... 4-12

4.3.1 Talkback Configuration Button ................................................. 4-13

4.3.2 Talkback Mic Setup .................................................................... 4-13

4.3.3 The Talkback Mixer..................................................................... 4-14

4.3.4 Talkback Presets ........................................................................ 4-14

4.4 Control Groups ............................................................................... 4-14

4.4.1 Creating Control Groups ............................................................ 4-14

4.4.2 Naming Control Groups ............................................................. 4-15

4.4.3 Mode Option ................................................................................ 4-15

4.4.4 Auto-Mute Option ....................................................................... 4-15

4.5 Master LCD Function Buttons ....................................................... 4-16

4.7 Transport / Timecode Configuration ............................................. 4-21

4.8 Audio Synchronisation ................................................................... 4-22

4.8.1 Internal Sync - Console As Master ............................................ 4-22

4.8.2 External Sync .............................................................................. 4-22

4.8.3 External Sync Sources ............................................................... 4-23

4.8.4 Sample Rate and Conversion .................................................... 4-23

5.1 Cue List ............................................................................................. 5-3

5.1.1 Normal, Master and Relative Cues .............................................. 5-4

5.1.2 Storing a Cue ................................................................................ 5-4

5.1.3 Recalling a Cue ............................................................................. 5-4

5.1.4 Replacing a Cue ............................................................................ 5-5

5.1.5 Update Master ............................................................................... 5-5

5.1.6 Editing Multiple Cues ................................................................... 5-5

5.1.7 Moving a Cue ................................................................................ 5-6

5.1.8 Renaming a Cue ............................................................................ 5-6

5.1.9 Renumbering Cues ....................................................................... 5-6

5.1.10 Deleting a Cue ............................................................................. 5-6

5.1.11 Cue Undo ..................................................................................... 5-6

5.1.12 The Cue Scope Editor ................................................................ 5-7

5.1.13 Channel Scope ............................................................................ 5-7

5.1.14 Controller Scope ......................................................................... 5-7

5.1.15 Cue Timing .................................................................................. 5-8

5.1.16 Cues and MIDI ............................................................................. 5-9

5.1.17 MIDI Patches ............................................................................... 5-9

5.2 Live Update ..................................................................................... 5-10

5.2.1 Live Update Rules....................................................................... 5-10

5.2.2 Fader Examples .......................................................................... 5-12

5.2.2 Other dB Controller Examples .................................................. 5-13

5.2.3 Non dB Controller Examples ..................................................... 5-13

5.2.4 Inverted Option Logic Examples ............................................... 5-13

5.3 Cue Editor Software ....................................................................... 5-14

5.3.1 The Toolbar ................................................................................. 5-14

5.3.2 Session Management ................................................................. 5-14

5.3.3 Input Channels and Sets ............................................................ 5-15

5.3.4 Cue List ....................................................................................... 5-16

5.3.5 Cue Notes .................................................................................... 5-17

5.3.6 Control Groups ........................................................................... 5-17

5.3.7 Relays .......................................................................................... 5-18

5.3.8 MIDI Channel Names .................................................................. 5-18

5.3.9 MIDI Program Changes .............................................................. 5-19

5.3.10 MIDI Controllers ........................................................................ 5-19

5.3.11 Machine Control ........................................................................ 5-20

6.1 Real Time Automation ...................................................................... 6-2

6.1.2 Isolate Mode .................................................................................. 6-2

6.1.3 Record Mode ................................................................................. 6-2

6.1.4 Play (Update) Mode ...................................................................... 6-3

6.1.5 Automation Options ..................................................................... 6-3

6.1.6 Safe Mode (Dynamic Automation) ............................................... 6-4

6.1.7 Offset Time .................................................................................... 6-4

6.1.8 Edit Block ...................................................................................... 6-5

6.1.9 Trim Block ..................................................................................... 6-6

6.1.10 Cue Automation .......................................................................... 6-7

6.1.11 MIDI Patches ................................................................................ 6-8

6.2 The Automation Mix Editor .............................................................. 6-8

6.2.1 Channel Display ............................................................................ 6-8

6.2.2 Scaling the Automation Editor Display....................................... 6-9

6.2.3 The Time-Line ............................................................................. 6-10

6.2.4 Event Display .............................................................................. 6-10

6.2.5 Automation Mode Buttons ......................................................... 6-12

6.2.6 Selecting and Editing Events..................................................... 6-13

6.2.7 The Selection Tools .................................................................... 6-13

6.2.8 The Editing Tools ....................................................................... 6-15

6.2.9 The Event Tools .......................................................................... 6-15

6.2.10 Write to Start and Write to End ............................................... 6-16

7.1 Configure Effects .............................................................................. 7-3

7.1.1 Selecting Effects ........................................................................... 7-3

7.1.2 Effects and Routing ...................................................................... 7-4

7.1.3 Effects and Auxiliaries ................................................................. 7-4

7.1.4 Output Insert ................................................................................. 7-5

7.2 Effects Control .................................................................................. 7-6

7.2.1 Effects Parameters ....................................................................... 7-6

7.2.2 Output Processing Parameters ................................................... 7-6

8.1 Troubleshooting................................................................................ 8-3

Appendix A - The Theatre Masters Controller ...................................... A-3

A.1 Overview ......................................................................................... A-3

A.2 Connection and Setup ................................................................... A-4

A.3 Consoles and Racks Panel ........................................................... A-4

A.4 Sync Session .................................................................................. A-5

A.5 Mirroring ......................................................................................... A-5

A.6 Masters............................................................................................ A-6

A.7 Cue Control ..................................................................................... A-6

A.8 Global Safe and Mute Buttons ...................................................... A-7

A.9 Macros............................................................................................. A-7

Appendix B - Multiple Console Setups ................................................ B-3

B.1.1 Front Of House and Monitors Setup ......................................... B-3

B.1.2 Gain Tracking Settings ............................................................... B-5

B.1.3 Gain Tracking Procedures.......................................................... B-6

B.1.4 Gain Tracking and Cues ............................................................. B-6

B.2.1 Redundant Optical Loop ............................................................ B-7

B.2.2 Redundant Engine or Mirror Console ....................................... B-7

B.2.3 DiGiConfig – Hardware Configuration ...................................... B-8

B.2.4 Consoles and Racks Panel ........................................................ B-9

B.2.5 Sync Session ............................................................................. B-10

B.2.6 Mirroring .................................................................................... B-10

B.2.7 DiGiRack Control .......................................................................B-11

B.2.8 Normal Operation ...................................................................... B-12

B.3.1 PC Remote Control ................................................................... B-15

B.3.2 Remote PC Setup ...................................................................... B-15

B.3.3 Remote PC Operation ............................................................... B-15

Index .............................................................................................................

Chapter 1

Getting Started

1-1

Chapter 1

1-2

Chapter 1

1.1 The Console

The Digico D5T consists of a worksurface, and up to 4 Input/Output Rack Units. The Rack Units are connected to the console by optical fibre and/or MADI links, which carry all the audio input and output signals.

The console worksurface consists of 3 Input Banks, and a Master Section. Each input bank has 8 assignable faders and 8 sets of assignable on-screen channel controls, the Master Section has 16 assignable

faders and a master fader. The Master section controls outputs, monitoring and configuration. The console's buss architecture is dynamic, and can support mono, stereo, LCRS and 5.1 configurations. Multiple console setups can provide: Front of House and Monitoring with shared stage racks and gain tracking. Redundant Mirroring of Front of House and/or Monitoring consoles. Remote control of console via an ethernet link with a laptop computer. The D5-TC Theatre Masters Controller provides extended master fader controls, eight programmable macro buttons and a dedicated

script space.

This manual is divided into chapters, each dealing with one aspect of the console.

• Chapter 1 is a quick start guide that provides an overview of the basic console functions.

• Chapter 2 describes how to use the assignment and channel controls provided on an Input channel bank.

• Chapter 3 describes the Output channels, including Sub Group, Direct, Aux and Matrix Group Outputs.

• Chapter 4 describes most of the Master Section functions, including console configuration, monitoring and timecode and transport control.

• Chapter 5 describes the console's cue system.

• Chapter 6 describes the console's dynamic automation system.

• Chapter 7 describes the onboard Effects.

• Chapter 8 provides help with troubleshooting common problems.

1-3

Chapter 1

1.2 Hardware Configuration

1.2.1 Connections .........................................................................

Detailed information on the various systems of connection is provided in the Interconnection and System Setup Manual but the following diagram provides an overview of a single console setup.

For Multiple Console Setups see Appendix B

CONNECTION WITH MADI

STAGE RAC KS

MAIN MADI IN

MADI PORT 1 OUT MADI PORT 3 OUT

MAIN M ADI IN

MAIN MADI OUT MAIN MADI OUT

MADI P ORT 1 IN MADI P ORT 3 IN

MADI PORT 2 OUT

LOCAL RACK

MAIN M ADI IN

MADI PORT 2 IN

MAIN MADI OUT

CONNECTION WITH OPTICAL FIBRE

OPTO ID 30

STAGE RAC KS

MADI PORT 2 OUT

FOH

AUDIO SYNC = MASTER

OPTO ID 32

OPTO A

MAIN MADI IN

OPTO B

OPTION AL REDUNDANT LOOP

OPTO A

MADI PORT 2 OUT

OPTO A

OPTO ID 20

MADI PORT 2 IN

MAIN MADI OUT

OPTO B

FOH

AUDIO SYNC = OPTO

1-4

Chapter 1

FOH Main C

1.2.2 The DiGiConfig Program .....................................................

The following example shows how to run the DiGiConfig program from the D5T software in order to configure you hardware:

1) Open the System / Service menu.

2) Press the Configure Hardware button, the D5T software will close and DiGiConfig will open.

3) Press the relevant buttons for all the consoles that you wish to configure.

The example below shows the settings for a system with a Main Front of House console and its Redundant Engine, a Monitor console and its Redundant Engine and a Remote Controlller or Theatre Controller for the Front of House console.

All the devices should have all of the components of the system selected but the “THIS ONE?” button should be selected according to which device you are setting up.

4) This will apply the correct configuration but the details can be further edited by pressing the Edit Details button.

5) Press OK to return to D5T software.

onsole

1-5

Chapter 1

1.3 Getting Started

Input Section

Master Section

Input Gain and Phase

ux / Pan / Dynamics Controls

Assignable Rotary and Switch

Mute and Interactive LCD

Function Button

Channels Faders

Channel Meter Status

Channel Insert On / Off

4 Band Parametric EQ

High and Low Pass Filters

Dynamics Thresholds and On / Of

Joystick

Undo / Redo Butt on

Channel Fader Banks

Meter Status

Master Screen

Mute and Interactive LCD

Output / Control Group

Faders

Mute and Interactive LCD

Function Button

Screen

Scroll

Function Button

Output / Control Group

Faders

Tal k ba c k

Cues

Monit orin g

Master Fader Banks

Matrix Controls

Flip Master Fader Bank Maste r Mute

Previous Cue Button

Master Fader Banks

Master Fader

Next Cue Button

1-6

Input Channel

Input Gain

Phase

Input Module Analogue Gain Digital Trim

EQ Module

Chapter 1

Master Screen

Screen Scroll

Assign Rotary

Assign Button

LCD Function

Aux Send & Compressor Controls

Aux On/Off & Compressor Controls

Aux Send & Gate Controls

Aux On/Off & Gate Controls

Assigned Rotary Level

Assigned Button On/Off

Mute

Interactive LCD Button

Channel Fader

Dynamics Module

Aux / Pan Module

Routing Module

1-7

Chapter 1

1.3.1 The New Session Panel .......................................................

To create a new session, touch the Session Files button on the master screen and then touch the New Session button. The following panel will appear:

The Main Buss Mode defines the format of the Main buss as Stereo, LCRS Surround or 5.1 Surround. This also affects the options for selecting the Sub Group and Aux buss formats: if the Main buss is stereo, the other busses cannot use the Surround formats, and if the main buss is Surround format, the other busses cannot use a different Surround format (although they can be stereo).

The Sub Groups and Auxes settings allow you to define the format and number of the Aux and Sub Group busses. The total amount of busses cannot exceed 72.

Note: The total number of busses available will affect the choice of solo mode selected in the Setup Menu / Monitoring panel.

For example, if you wish to use AFL within a 5.1 Surround console configuration, an extra 6 busses will have to be reserved for that purpose.

Clearing Settings

When you start a new session all current settings will be inherited by default but the Mix Automation and Cue List will be cleared. The buttons at the bottom of the New Session panel allow you to clear settings according to your own requirements. When the buttons

are pressed, the relevant settings will be cleared. If you are simply adjusting the buss configuration of an existing console you are unlikely to wish to clear all of your current settings.

You may also choose to Set all Input Direct Sends to Pre-Mute/Pre-Fader, Post-Mute/Pre-Fader or Post-Mute/Post-Fader for the new session. Remember that when all settings are cleared, any labelling or routing which you have done will be lost.

1.3.2 Consoles and Racks ............................................................

If the console is the only one in the system, the Consoles & Racks panel will not open automatically and the console will be fully connected to the racks with its Master Audio Outputs Active by default. This panel can also be opened from the System menu.

If the system has been defined as consisting of more than one device, the Consoles & Racks panel will automatically open on boot up or load session.

If the Ethernet crossover cable or Ethernet switch has been connected, then the Ethernet Connected line should show a green OK light and not a red cross.

The initial state will have no connection between the devices (Independent) or the racks (Isolated) and the panel appears in order to prompt the operator to make the necessary connections.

In this state, any gain adjustments made on the console will have no effect as the racks will not be receiving any data. The console’s MASTER Audio Outputs Active button will normally be highlighted in orange to show that it is the master responsible for

audio processing at this time. The same button on the other mirrored or remote devices in the system should not be highlighted at all. The MADI Rack’s connect states Receive Only and Full Connect are enabled/disabled and set according to the Audio Master active state

– an inactive engine cannot output to a MADI rack.

Main Console Redundant Engine, Mirror Console or Remote

To enable control of the DiGiRacks, press the Full Connect buttons for the Optocore and MADI racks. You will then be required to confirm the action, the session settings will be sent to the racks and the console will have full control over them.

1-8

Chapter 1

If you have a system where more than one console is sharing the racks you may wish to use the Receive Only mode where the console will receive the rack’s existing settings but will not be able to control the gain on the racks.

Options are: Isolate where the console will not communicate with the racks and therefore any adjustment of input gain or +48V switch will have no

effect on the rack settings.

Receive Only where the console will receive the rack’s existing settings but will not be able to control the gain etc on the racks. Full Connect where the console will send its settings to the racks and change them accordingly. For more information on the use of this panel please see the chapter on Multiple Console Setups.

1.3.3 Selecting an Input Source ...................................................

First select the Fader Bank that you require by pressing one of the bank of buttons next to the channel faders. Holding a Fader Bank button for more than half a second will switch all input banks to view the same Fader Bank row.

You can display the Input Module for a fader by touching the top of the fader's on-screen channel strip, where the channel label is displayed. You can then hide the module by touching the same area again.

Gain / Phase

Signal Label

Stereo Channel Mode Selecto

Signal Group Selector

Signal Selector

Phantom Power (Mic i/p only)

Preset Selector

Signal Delay

1-9

Chapter 1

Input sources are divided into groups of signals eg. Stage 1-8 or Line 1-16.

To select an input source:

1) Touch the top of the input screen to open the input panel.

2) Touch the name of the Signal Group to view the signal names.

3) Touch the name of the signal to assign it to the channel.

4) Adjust the gain (analogue rack gain or digital trim selected by touching the required on screen control) with the worksurface rotary control at the top of the channel.

5) Touch the top of the input screen again to return to the standard view. Note: Touch the Lab box and type a name for the channel if required.

GAIN

If the Stereo is pressed, the input channel functions will control two input signals, the one which has been selected and the next one in the rack.

eg. If Stage 1 is selected and the stereo button is pressed Stage 2 will also be controlled. To Solo a channel use the Channel LCD Buttons just below the mute buttons in the channel strip.

mutemute mutemute mute mute mute mute

LCD

FUNCTION

01 Mo

MIC 1

PFL

02 Mo

MIC 2

PFL

03 Mo

MIC 3

PFL

04 Mo

MIC 4

PFL

05 Mo

MIC 5

PFL

06 Mo

MIC 6

PFL

07 Mo

MIC 7

PFL

08 Mo

MIC 8

PFL

These are multi-function buttons and by pressing the Channel LCD Function button on the left hand side you can select which function they are currently assigned to.

LCD

FUNCTION

SOLO SAFE

AUX SEND

>FADERS

BUILD

GANGS

SOLO

1OR2

DISP LAY

ONLY

NAME

FADER

ASSIGNS

CHANNEL

SOLO

ASSIGNS

CHANNEL

1-10

1.3.4 Routing the Channel Signal ................................................

The channel signal can be routed to Sub Groups and Direct Outputs. To Route to a Sub Group:

1) Touch the bottom of the input screen to open the routing panel.

2) Touch the Sub Groups button if it is not already highlighted.

3) Touch the Sub Group button(s) that you require eg. Master, SubGrp1 etc

4) Touch the bottom of the input screen again to return to the standard view.

Chapter 1

To Route to a Direct Output:

1) Touch the bottom of the input screen to open the routing panel.

2) Touch the Directs button if it is not already highlighted.

3) Touch the name of the Socket Group to view the output socket names.

4) Touch the Output Socket button(s) that you require eg. Loc op 1, Loc op 2 etc.

5) Touch the Pre/Post button to specify the position of the Direct Out, relative to the channel fader, in the signal path.

6) Touch the bottom of the input screen again to return to the standard view.

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Chapter 1

1.3.5 Routing Busses To Outputs ...............................................

The Master, Sub Group and Auxiliary busses may be routed to output sockets as part of the initial configuration. This is achieved by using the buss output routing panel in the Master Screen:

1) Touch the Buss Outputs button at the top of the master screen.

2) Touch the on screen meter of the relevant buss to expand the view.

3) Touch the Route button at the bottom of the panel.

4) Touch the name of the Socket Group that contains the output you require eg. Loc op 1-8.

5) Touch the Output Socket button(s) that you require eg. Loc op 1, Loc op 2 etc

6) Touch the Route button at the bottom of the panel to close the routing.

7) Touch the area around the on screen meter to return to the standard view.

8) Press the Master Fader Bank button for the relevant row of outputs to adjust the output level with the worksurface master faders. NOTE: For a stereo buss, select the output for the left hand signal and the next consecutive output is used automatically for the right hand

signal.

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Chapter 1

1.3.6 Matrix Inputs .........................................................................

The 32x32 way matrix is accessed by touching the Matrix Inputs button on the master screen or the Matrix button on the far right of the worksurface master section.

Inputs are selected in the same way as the input channels (See Section 1.3.1).

To route a Sub Group into the Matrix:

1) Touch the Matrix Inputs button on the master screen to open the panel.

2) Touch the top of the input screen to open the input panel.

2) Touch the Stereo Buss or Mono Buss button to view the names of the Sub Groups.

3) Touch the name of the signal to assign it to the channel eg.SubGrp1L

4) Touch the top of the input screen again to return to the standard view.

Touch the on screen matrix send controls to select which ones you wish to adjust and they will become highlighted. Use the worksurface Matrix Send control and On/Off switch to adjust the settings for all highlighted sends. At the bottom of the panel there are buttons to Clear All Assignment, Load and Save Presets and Scroll buttons to view the other

inputs and outputs.

Matrix Send

Send On/Of

Open Matrix

Matrix PresetsClear All Selections Scroll Inputs

1.3.7 Matrix Processing ................................................................

Each of the 32 Matrix groups is controlled on its own channel in the input banks labelled matGrp1 to matGrp4. Press the required input bank button to show the following panel and touch the relevant on screen area to expand the views.

Input Trim

Delay Con trols

Switch Direct

Output On/Off

EQ controllled by 3 rows of rotaries/switches below the input screen

EQ Mod ule

Dynamics Module

Meter / Mu te / AFL

Label

Routing Module

Compressor controllled by first row of rotaries/switches b elow the input scree

1-13

Chapter 1

Worksurface controls are as follows:

Trim

Mute Solo Label Output Routin

Delay Time

These channels provide Trim, Delay up to 510ms, Compression and 6 Band Parametric EQ.

1.3.8 Routing Matrix Groups To Outputs ...................................

Matrix Group signals may be routed to a pre EQ, pre fader direct output and/or a post fader output

To Route a Matrix Group to a post fader Output:

1) Touch the bottom of the matrix group screen to open the routing panel.

2) Touch the Outputs button if it is not already highlighted.

3) Touch the name of the Socket Group to view the output socket names.

4) Touch the Output Socket button(s) that you require eg. Loc op 1, Loc op 2 etc.

5) Touch the bottom of the input screen again to return to the standard view.

Delay In/Out

Compressor Threshold

Compressor In/Out

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1 5

To Route a Matrix Group to a pre EQ, pre fader Direct Output:

1) Touch the bottom of the matrix group screen to open the routing panel.

2) Touch the Direct button if it is not already highlighted.

3) Touch the name of the Socket Group to view the output socket names.

4) Touch the Output Socket button(s) that you require eg. Loc op 1, Loc op 2 etc.

5) Touch the bottom of the input screen again to return to the standard view.

6) Touch the Direct On button to turn the output on.

Chapter 1

1 5

1-15

Chapter 1

1.3.9 Save As New File ..................................................................

When you change the configuration of the session you may save it to the console's flash drive under a new filename or simply overwrite the current file. To save under a new filename:

1) Touch the Session Files button at the top of the Master Screen to view the menu.

2) Touch the Save as New File button in the Sessions menu to open the panel.

3) Touch the C:\Projects folder button at the bottom of the panel to select the file destination.

4) Touch the New Filename box and type the chosen name (with a maximum of 8 letters and no spaces or punctuation).

5) Touch the Session Title box and type a description of the session if required.

6) Touch the Save button in the bottom right of the panel to save the session file. Note: If you touch a session name on the existing list, this name will automatically be selected as the new file name and

touching Save will overwrite the old file.

1.3.10 Save Session ......................................................................

This button which is found above the Save As New File button will save the existing session in the same location and under the same file name as it was previously saved or loaded from. It therefore serves as a "Quick Save" option to update an existing session.

Remember that this function will overwrite your last saved version.

If you wish to save the session under a new name use the Session Files menu button and select Save As New File (See above).

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Chapter 1

1.3.11 EQ ........................................................................................

The EQ section comprises four user-configurable parametric filters and a pair of swept High-pass and Low-pass filters. The EQ is accessed by touching the on screen display to Assign the channel (the colour changes to orange) and then using the

controls on the right hand side of the input module. When a control is adjusted the expanded view seen below appears in the input screen but this view can be seen at any time by touching

the EQ response graph on the screen.

NOTE: If the expanded view does not appear when a control is adjusted open the System / Options panel and press the Automatically expand EQ view when adjusted button.

Filter Centre Frequencies

Response Graph

Reset EQ Preset Selector

Para metric 1 (Yellow)

Curve Select for Parametric 1

Parametric 2 (Blue)

EQ In/Out

Parametric 3 (Green)

Curve Select for Parametric 4

Parametric 4 (Red)

Lopass In/Out

Hipass / L opass Filters

Hipass In/Out

Note: The four band EQ and each of the filters have their own in/out switches. The type of filter used by bands one and four can be changed by successive presses of the Curve Select button for that band. There are

three possible settings for each band.

1.3.12 Dynamics ............................................................................

The dynamics are accessed by touching the words Comp or Gate just below the EQ graph on screen to open the dynamics panel. The worksurface controls beneath the screen control the various parameters. Touching the panel again will close it. Dedicated Threshold controls and In/Out switches can be found on the right hand side of the input section worksurface. These can

control the Assigned channel's dynamics whether the on screen dynamics panel is open or not.

Compressor Controls

Gate Controls

The third row of buttons in the input section can be assigned to any of the dynamics on/off switches. Hold the Assign Switch button on the left of the input section and touch the dynamics section on the screen. The selected control is shown by the Status Display.

Note: These switches can also be assigned to other functions - See section 2.1.3

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Chapter 1

1.3.13 Auxiliaries ...........................................................................

The auxiliaries are accessed by touching the auxiliary row on screen or using the Screen Scroll buttons on the left of the input section.

Aux Sends

Aux On/Off and Pre/Post

Screen Scroll

Aux Sends

Aux On/Off and Pre/Post

ssign Rotary

Assign Switch

Using either of these methods, the highlighted auxiliaries on the input screen will change. The rotary controls and switches beneath the screen are used as auxiliary sends, pans, on/off and pre/post switches in the following way.

Assignable Rotary and Switch Labels with Value Readouts

MONO AUX STEREO AUX

FIRST MONO AUX SEND

FIRST MONO AUX ON/OFF

(PRE/POSTWHENSENDISDOWN)

SECOND MONO AUX SEND

SECOND MONO AUX ON/OFF

(PRE/POSTWHENSENDISDOWN)

The third rotary control and button in the section can be assigned to any of the auxiliary sends or on/off switches. Hold the Assign Rotary or Assign Switch button on the left of the input section and touch the required auxiliary row on the screen. The selected auxiliary name is shown by the Assignable Rotary Display.

(PRE/POST WHEN SEND IS DOWN)

assign

AND

STEREO AUX SEND

STEREO AUX ON/OFF

STEREO AUX PAN

TOGGLE TO CENTRE

assign

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Chapter 1

1.3.14 Control Groups ..................................................................

Any number of input channels and output channels can be connected to one or more of the 24 Control Groups. They can then all be operated from a single worksurface control. Changes to the Control Group fader, mute or solo or controls will affect all channels connected to the group.

To set up Control Groups:

1) Touch the Control Groups button on the Master screen.

2) Touch the Touch Faders To Join/Leave button on the required Control Group (1-24).

3) Touch the faders on the channels that you want to include. (Touching the fader again will remove it from the group).

4) Touch the Touch Faders To Join/Leave button again to turn the function off.

5) Press the on screen Mode button to select Moving faders, VCA style static faders or Mutes only.

6) Press the Auto-Mute button if required to select this mode for the Control Group.

With Auto-Mute on, any Control Group member which is removed from the group will be automatically muted and any member that joins a group will be automatically unmuted.

7) Use the worksurface fader, mute and solo to adjust settings for the Control Group members.

A list of all the connected channels and their names is displayed above each Control Group display, touch the area above the Clear button to expand this list.

When a fader is touched it is highlighted in the list. You can also clear all the channels from a Control Group by pressing Clear. When a channel is a member of a Control Group, its own controls can still be adjusted independently of the other Group members.

Adjustments to fader levels are transmitted to the Group members as dB changes, so that a level increase of 2dB on the Group fader will increase all the member levels by 2dB, irrespective of the relative levels of the individual channel faders.

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Chapter 1

1.3.15 Master Fader Banks ...........................................................

The faders in the console Master section control the output levels for busses, auxiliaries and the matrix. To select a bank, press the relevant Master Fader Bank button for the Upper faders.

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Chapter 1

1.3.16 Monitoring ..........................................................................

The Monitoring panel can be found under the Setup Menu on the Master Screen and some of the controls can be accessed on the right hand side of the Master worksurface.

It may be accessed at any time to change the monitoring setup.

Solo Modes

Solo1Controls

Monitor Master Buss

When No Solo On

Set Solo 1 Mono Set Solo 2 Mono

Clear All Solos

RouteSolo1ToOutput

Solo Safe

Assign Solo 2 Level

to Master fader

Route Solo 2 To Output

Solo 2 Controls

There are two solo busses and each console solo button can be independently assigned to use Solo 1 or Solo 2. Output solos may use a total of 16 inputs to each solo buss.

Therefore, if the console was being used for stage monitors, the first solo buss could feed an "in ear" monitor and the second solo buss could feed a wedge.

To use Solo 2 there must be sufficient busses available (at least two) and if Solo 2 does not appear on the panel a new session should be created to make these busses available.

The dedicated worksurface buttons control the relevant Monitor/Solo 1 functions and the Solo 2 level and trim may be controlled by touching the on screen control and using the Matrix rotary control on the worksurface.

For more information on Monitoring and Solo options see Section 4.2.9.

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Chapter 2

Inputs and Console Channels

2-1

Chapter 2

2-2

Chapter 2

2.1 The Input Channels

The console Worksurface consists of a Master section, and three "Banks" of faders for controlling input channel functions. Internally, the console has 96 or 128 (according to use of onboard effects) input channels.

2.1.1 Channel Assignment ...........................................................

The assignment of audio input channels to faders on the D5T worksurface is "soft", so that there is no direct link between channels and faders. The console can have up to 224 input sockets which are then assigned in blocks of eight to the console's physical fader banks.

Input Gain and Phase

ux / Pan / Dynamics Controls

Assignable Rotary and Switch

Mute and Interactive LCD

Function Button

Channels Faders

Channel Meter Status

Channel Insert On / Off

4 Band Parametric EQ

High and Low Pass Filters

Dynamics Thresholds and On / Of

Joystick

Undo / Redo Button

Channel Fader Banks

When you want to access an input channel which is not currently visible on a worksurface channel, press the relevant Fader Bank button on the console worksurface.

Note: Holding a Channel Fader Bank button for more than half a second will switch all input surfaces to their equivalent bank for the same bank button

2.1.2 Worksurface Channels ........................................................

Each fader bank has eight channels. Each channel has a Mute switch, an Interactive LCD button which performs a number of different functions and assignable rotary controls and switches to control auxiliaries and dynamics functions.

As well as a number, each channel has a Label which you can define. Labels can be up to 31 characters but only the start of the label will be displayed. The number of characters displayed depends on the character width.

Above the faders on each bank, the touch-screen provides access to the routing and processing for each channel.

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Chapter 2

2.1.3 Input Screen - The Standard View ......................................

In the screen's Standard View, each on-screen channel is shown in abbreviated form. The controls around the screen operate as follows: detailed information about each particular control is given later in this chapter.

Upper row - Channel Input Gain and Phase. Lower row - the first two rows of controls below the screen are used to adjust the channel's Pan position, Auxiliary sends and Dynamics

parameters. The third row of controls can be assigned to any of the following functions by holding down the Assign button and touching the chosen

control on the Input screen.

Assignable Switch Assignable Rotary

Set channel delay to zero Channel delay time EQ In/Out Aux level Compressor or Gate In/Out Stereo panning Aux On/Off Direct Output Gain Set Pan position Insert Send Gain Insert In/Out Direct Output PreM/Pre/Post

Status

Display

ssign Rotary

Assign Switch

The on-screen channel strip is normally coloured grey, but one or two of the Aux/Pan controls are highlighted in a different colour, indicating that these controls are currently assigned.

You can scroll the assignment up and down the list of Aux/Pan controls using the two Screen Scroll buttons on the left hand side of the section or by touching the control on the screen. Surround panning is operated using both rotaries, but is easier to adjust by selecting the channel and using the joystick.

2.1.4 Input Meters ..........................................................................

Note that the meter above the channel display will show the input signal level for that channel but if the Meter Buttons to the right of the Input screen are pressed the meter can show any of the following:

Input / Gate GR / Compressor GR / Direct Out / Insert Send The meter display buttons allow you to scroll through the options.

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Chapter 2

2.1.5 Assigning a Channel ...........................................................

To assign one of the on-screen channels so that you can adjust the EQ or Dynamics settings or use the Joystick, touch the on-screen display of the channel anywhere in the EQ or Dynamics area. (Not on the In / Out switches)

The background colour of the channel changes to show that it is selected. Touching the IN /OUT buttons will switch the relevant processing module ON or OFF.

There is also an option to assign a channel by either touching its fader or pressing its solo button. See Section 2.2.8 Channel LCD

Function Buttons.

2.2 Expanding a Processing Module

Once you have selected a channel, you can choose to view any of the processing Modules in more detail by touching the abbreviated display of the section. There are five areas of the channel you can touch to see the module in more detail:

Input Module Analogue Gain Digital Trim

EQ Module

Dynamics Modul

Aux / Pan Module

Routing Module

2-5

Chapter 2

2.2.1 Input Module ........................................................................

Gain / Phase

Signal Label

Stereo Channel Mode Selector

Signal Group Selector

Signal Selector

Phantom Power

Preset Selector

(Mic i/p only)

Signal Delay

The Input Module contains the following controls:

Channel Label

To alter the Label, touch the Label area, then type the new label on the keyboard. Labels can be up to 31 characters long, but only the start of the label will be displayed depending on the character width.

Signal Group

The input sockets are arranged into named "Groups". To display the signal groups, touch the Signal Group Selector area as shown above. You can then touch the button for the group you want.

"Misc" Signal Group

The Misc group contains the console's internal signal sources and sockets, including signals from the worksurface and rear Talkback microphones, and the internal Noise and Tone generators.

The original talkback sources (the unprocessed microphone inputs) are labelled Talk Mic L (Top) & R (Rear). The post-processing results from the talkback input channels are labelled Talkback A & B.

Select Signal - Signal in Group

To select a source, touch the button for the signal you want to connect to the channel. If there are more than five channels in the group, you may need to use the scroll buttons (top and bottom) to display the button for the signal you want.

Stereo Channel Mode Selector

Gain / Phase

Signal Label

Stereo Channel Mode Selector

If this button is pressed, the input channel functions will control two input signals, the one which has been selected and the next one in the rack.

Input source, Direct output, Insert Send and Insert Return will all function as adjacent pairs so making a selection for the left signal will result in an automatic selection for the right signal.

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Chapter 2

Processing for the right signal is taken from the highest numbered channel available which has no input route or insert return route selected. The channel which is used will no longer be available for normal operation. This is indicated by a white channel number.

Stereo channels show all signal meters as pairs. Gain reduction meters in dynamics are also shown as pairs, but with the dynamics stereo link switched on, only the larger gain reduction of the pair is used for both sides of the stereo channel. The meter bridge shows two peaks for stereo inputs.

The stereo channel display will change in the following way:

MS Decode

Swap Left and Right Signals

Input Balance

The following additional functions are made available:

MS Decode

This button will activate MS Decoding for the stereo signal

Swap (Reverse) Left and Right Signals

This button will reverse the left and right signals or the Middle and Side signals if MS Decoding is active.

Input Balance

Controls the relative levels of left and right signals in the stereo pair.

NOTE: Most of the channel settings are preserved when switching from Mono to Stereo or vice versa. Pans are reset and stereo routing may not be correct if the relevant output sockets are unavailable

Phantom Power only appears if the channel's source signal is a microphone.

When you connect to a Microphone input, a Phantom Power switch appears in the Input Routing Module. Phantom Power operates at +48V. The default setting of this button can be controlled in the "Sockets File".

Channel Aliases and Presets

The Aliases button allows you to store or recall a complete channel setup. An Alias is the name of a channel and a Preset can be associated with that name. If the source of a channel is changed from cue to cue

(eg Different actors use the same microphone in different cues) then the Cue List's Live Update function can be used to ensure that a change to the settings of an alias in one cue will be written to the same alias in other cues.

A Channel Preset contains all the channel controls from the Input Gain to the Pan and Fader positions and group routing. Note that a channel preset does NOT include any input socket routing information - this must be set specifically for each channel.

When you press the Aliases button, the screen displays a Preset Selector: The number at the start of the name represents the channel that the Alias was created from and the name is a copy of the channel label. There is no requirement to create Presets for each of the channel's aliases but if you intend to use the Live Update function it will probably

prove simpler to organise if you do so. Note: If you create Aliases using the Cue Editor software (See Cue List chapter of this manual) then they will automatically appear in the

Aliases/Presets panel and the settings for each Alias can be stored by making the settings on the console worksurface and then using the Store button in the panel to update the Alias.

The following image shows three different aliases for a character called Harry that have been created in channel 1 by making the appropriate settings including the channel name and then pressing the New button in the panel.

2-7

Chapter 2

To Recall an existing channel preset, simply touch the preset you want. If the preset is not visible, you can touch the vertical arrows to scroll the list up or down. The preset settings are implemented in the channel as soon as you touch it.

To store the current channel settings as a New preset, touch the New button, then type a name for the new preset. To Replace an existing preset with the current settings, touch the Store button, then touch the name of the preset you want to overwrite. To Rename an existing preset without changing its settings, touch the Rename button, then touch the preset you want to rename, and

type the new name. Note: If a preset is renamed, it can be given a different name from the channel label itself. It is the channel label that Live Update uses to

determine whether to update Aliases and therefore it is recommended that to avoid potential confusion, Presets that are used as Aliases are not renamed and therefore retain the name of the channel label.

To Delete a preset, touch the Delete button, then touch the name of the preset you want to delete. The Default button forces all controls on the channel to their default settings. This will normally mean flat EQ, inactive dynamics, central

pan, Aux sends at zero, and fader at 0dB. The Close button removes the Preset Selector from the screen, but has no direct effect on the channel settings.

Gain, Phase and Delay

When the Input module is expanded, the rotaries and switches in the Lower Row of input bank controls (immediately below the channel display) control the Delay settings for mono channels or Input Balance and Delay for stereo channels.

In addition, Gain and Phase adjustment is always available using the controls above the Inputs Screen. The Input Gain control provides a basic level trim. If the input source is an analogue input socket, the Gain setting controls the analogue

amplifier which sets the incoming signal level before conversion to digital. The Phase switch allows +/- phase settings. On mono or stereo channels you can use the Delay control to delay the input signal by up to 240ms. On a mono channel, pressing the Set

0 button sets the delay back to zero.

2.2.2 Equaliser Module .................................................................

The EQ module comprises four user-configurable parametric filters. There is also a pair of swept High-pass and Low-pass filters. If the EQ module is not expanded, the EQ can be switched On or Off with

the In / Out button above the EQ graph To expand the EQ Module for a channel, first select the channel, then touch the channel's EQ graph. To hide the module again, touch the

expanded EQ graph.

Note: The EQ panel can be expanded automatically when an EQ control is adjusted by setting System Menu / System Options:

2-8

Filter Centre Frequencies

Chapter 2

Response Graph

Reset EQ Preset Selector

Parametric 1 (Yellow)

Curve Select for Parametric 1

Parametric 2 (Blue)

EQ In/Out

Parametric 3 (Green)

Curve Select for Parametric 4

Parametric 4 (Red)

Lopass In/Out

Hipass / Lopass Filters

When expanded, the EQ Module shows the filter settings in detail, using a different colour for each filter. The In/Out switch and indicator for the EQ module is located in the centre. When the EQ module is visible, the EQ controls at the right side of the screen operate corresponding to the on-screen controls.

Hipass In/Out

Preset Selector

Presets are used not only for complete channel setups, but also for EQ and Dynamics setups. They provide a way of storing the EQ settings for a particular channel, so that these settings can be recalled instantly at a later date, or for another channel.

Touching the EQ module's Presets button displays a Selector panel for the EQ presets. The panel works in exactly the same way as the Channel Preset Selector described earlier in this section (see 2.2.1), although an EQ preset only contains settings for the EQ controls, not for the whole channel.

Flat Button

The Flat button forces all controls on the channel's EQ section to their default settings.

Equalisers

Filters two and three (blue and green) are swept parametric "bell-curve" equalisers, with a centre-frequency range of 20Hz-20KHz. They provide up to 18dB Cut/Boost, with Q adjustable from 0.1 to 20.

Filters one and four (yellow and red) default to being a Hi and Low Shelf but each has an additional Curve switch which allows you to select HiShelf / Lowpass or Bell for filter one and LoShelf / Hipass or Bell for filter four. When the Hipass or Lowpass function is selected, the filter operates at 12dB/Octave, and the Q and Gain controls disappear.

Hipass / Lopass Filters

The Hipass and Lopass filters at the bottom of the module (purple and orange) operate at 12dB/Octave, and can be swept from 20Hz-20KHz (HPF) and 200Hz to 20KHz (LPF).

Note: The Hi and Lo Pass Filters are positioned preprocessing and therefore they will be unavailable to any internally generated signal such as the test noise.

These internally generated signals consist of:

1) Any signal in the Misc signal group (Talkback Mics, Test Tone and Noise).

2) SubGroup or Aux Buss results (labelled with a ~ eg ~ Aux1 L).

3) Internal FX Returns (any signal from the Effects input signal group which is used by the optional effects module).

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Chapter 2

2.2.3 Dynamics Module.................................................................

The Dynamics Module on each channel incorporates a Compressor and Gate, and also includes optional Filters for the sidechain and key signals.

You can display the Dynamics Module by touching the dynamics display on the channel strip. Touching the In / Out buttons will switch the section On or Off.

When expanded, the Dynamics Module appears across the bottom of the screen, and its settings are changed using the corresponding controls below the display.

Compressor Controls

Gate Controls

Compressor

The Threshold is the level at which the compression begins to affect the signal. For example, if you set the Threshold to -12dB, this means that the compressor has no effect until the signal level exceeds -12dB.

The Attack time is the time taken for the attenuation to reach the desired level after an increase in the level of the input signal. The Decay time is the time taken for the attenuation to reach the desired level after a decrease in the level of the input signal. The Ratio control lets you set the ratio between the signal level change and the resulting attenuation change. For example, if you set the

Ratio to 2:1, and the signal is above Threshold, a 6dB increase in level will result in a 3db increase in attenuation, so the net effect on the audio signal will be a level increase of 3dB.

The Gain control allows you to boost the overall level of the audio signal coming out of the compressor, to make up any level lost through compression.

The Meter provides a constant indication of the compressor gain reduction. The Sidechain Solo places the Sidechain signal on the Solo buss in PFL (Mono) mode. This is achieved by holding down the corre-

sponding button in the compressor controls below the screen.

Gate

The Threshold is the signal level above which the Gate has no effect. The Attack time is the time the Gate takes to open once the signal level has risen above threshold. The Decay time sets the time the Gate takes to close, once the signal level has dropped below the threshold (and the Hold time has

passed - see next paragraph). A long decay time means that the attenuation increases gradually, making any sub-threshold signal fade out. A short decay time means that the Gate shuts quickly, cutting off the signal abruptly.

The Hold time is an extra period for which the Gate remains open after the signal level has dropped below threshold. The Range control sets the maximum amount of signal attenuation implemented by the Gate when it is closed (ie when the signal level is

below threshold). A Range setting of 0dB means that the Gate has no effect, while a Range setting of 30dB means that all signal levels below threshold will be attenuated by -30dB.

The Meter provides a constant indication of the Gate attenuation. If the Gate is fully open, the meter shows full deflection, indicating 0dB attenuation. If the Gate is fully closed and the Decay and Hold times have passed, the meter shows the amount of attenuation set by the Range control.

The Gate Key button allows you to select the signal used to trigger the Gate. The default setting is Self, where the level of the channel's own signal is used as the trigger, but you can use this switch choose a different channel or buss.

Pressing the Gate Key button in the Dynamics panel displays a routing panel from which to select a key source. All input signals and buss results are listed as well as input channel post-processed signals.

Note: The Signal Group labelled Channels contains the post-processed signals. Gate Key signals use the channel send resource just like direct output and insert sends. This resource is limited to 96 channels and when

all 96 are used up, other channels listed will be greyed out. The state of channel send resources is displayed on the diagnostics panel.

Note: When the Filters are switched into the Dynamics section the Gate Key Source is automatically switched to its "Self" setting and disabled.

2-10

Chapter 2

The Key Solo places the Key Source signal on the Solo buss in PFL (Mono) mode. This is achieved by holding down the corresponding button in the gate controls below the screen.

Configuration and Filters

The default structure for the Dynamics Module is a simple Compressor-Gate layout, but you can also select from four other structures, or orders of effect processing, and use filters to achieve frequency-sensitive keying of the dynamics. The filters are a pair of second-order (12dB/Octave) High-Pass and Low-Pass filters, which can be swept between 20Hz and 20KHz.

You can select any of the structures just by touching them on the screen, and all the structure options except the default top one use the Hipass and Lopass filters. The filter roll-off frequencies are controlled by the rotaries directly below the on-screen controls.

Note that the filters cannot be used on an external trigger source.

In this configuration, the filters are used in the side chain of the compressor to provide frequency conscious compression effects such as de-essing.

In this configuration, the filters are used in the side chain of the gate to provide frequency conscious gating.

In this configuration, the filtered signal feeds the input of the gate while other frequencies bypass the gate. This allows for a specific band of frequency to be gated and then mixed back into the remaining band.

In this configuration, the filtered signal feeds the input of the compressor while other frequencies bypass the compressor. This allows for a specific band of frequency to be compressed and then mixed back into the remaining band.

Dynamics Presets

Touching the Dynamics module's Presets button displays a Selector panel for the Dynamics presets. The panel works in exactly the same way as the Channel Preset Selector described earlier in this section (see Section 2.2.1), although a Dynamics preset only contains settings for the Dynamics controls, not for the whole channel.

Dynamics Linking

The Gate and Compressor modules may be linked in adjacent channels to produce a stereo mixed control voltage, ensuring both channels respond identically.

Press the Stereo Link switch on the right hand side of the Dynamics panel. Both sides of the pair are switched simultaneously.

Note: The switches are not included in snapshots or presets.

In a stereo channel, the stereo link switch is pressed by default.

2-11

Chapter 2

2.2.4 Pan / Aux Module .................................................................

The Aux Send and Pan controls are always operated using the Lower Row of rotaries below each channel of the on-screen display. There are only two rotaries and switches for each channel, but these can be assigned to any Aux or Pan control using the Screen Scroll buttons at the left end or by touching the on-screen control that you wish to adjust. The current assignment of the controls is indicated by a highlight on the screen.

To expand the display to show more auxiliaries on screen touch the highlighted control. To return to the standard view touch the highlighted control again. Note: Holding the All button on the worksurface and touching the highlighted control will expand the view for all the channels in the

relevant bank.

Aux Sends

Aux On/Off and Pre/Post

Screen Scroll

Aux Sends

Aux On/Off and Pre/Post

ssign Rotary

Assign Switch

The Pan/Aux controls and scroll buttons operate in exactly the same way in both the Standard and the Expanded view.

Assignable Rotary and Switch Labels with Value Readouts

Auxiliaries

The console can support up to 28 Auxiliaries, depending on the availability of bussing resources. Auxiliaries can be mono or stereo, and stereo Auxiliaries have a Pan control as well as the normal Send Level control.

The Aux send rotaries below the screen operate differently depending on the Aux format. For mono Aux sends, each row of rotaries controls a different send level, but for a stereo Aux send, the two controls are used for send level and pan position for that Aux. As always, the assignment of the rotary controls below the screen is clearly indicated by the highlight on the relevant screen controls, and you can always use the Screen Scroll buttons to access the control you require.

Aux Pre / Post and On / Off Switching

Each Aux Send rotary control in the Lower Row has an associated switch, which operates both the Mode and On/Off function for that Aux.

If the level control is set to zero (as Aux 1 above), the switch controls the Mode setting for that Aux. As soon as the level control is moved above zero (Aux 2 above), the switch becomes an On/Off switch for that Aux send. So to change the Mode setting for an Aux, you must first reduce the level on that Aux Send to zero.

There are 3 possible Modes: PRE M = Pre Mute and Pre Fader PRE = Post Mute and Pre Fader POST = Post Mute and Post Fader

See Aux Buss Control in Chapter 3 for global mode changes.

2-12

Chapter 2

Pan Control

Panning to the Master and Group busses is Stereo or Surround, depending on the console configuration. Pan position for each channel can be controlled in two ways: by using the rotary controls in the Lower Row below the on-screen channel display, or by Selecting the channel and using the Joystick. For surround panning, the Joystick is much more intuitive than using a pair of rotary controls.

Surround Panning

With Surround console formats, in addition to the surround Pan control, there are two additional controls for LR/LCR and Sub in 5.1 format and one control for LR/LCR in LCRS format.

When using the Joystick to Pan the Selected channel, you will find that the Joystick position is shown on the Pan control as a pair of green lines. Moving the Joystick moves these lines, but does not move the Pan position of the channel itself until the green lines travel over the real Left-Right or Front-Back pan position. Once the Joystick position has passed through the real Pan position, further move- ment of the Joystick will then alter the Pan position in the normal way.

When using the rotaries for surround panning, the upper rotary controls the Left-Right position, and the lower rotary controls Front-Back.

Preset Pan Positions

The upper button directly below the pan rotaries can be used to reset panning positions. In a stereo console it will switch panning between left, centre and right positions with successive presses. In LCRS and 5.1 consoles the

button works in a similar way for each available position.

Panning Stereo Channels

When an input channel is stereo and therefore controlling a pair of input signals the pan control will appear in one of the following ways. In a stereo console configuration the upper rotary serves as a width control with the full left position being mono, the centre position being

normal stereo and the full right position being wide stereo. The width control is accessed by scrolling down past the pan. The lower rotary serves as a balance control between the relative levels of the stereo pair.

The surround panner for stereo inputs simultaneously controls the position of both left and right signals. The joystick and wheel directly control the position of the left signal, and the right signal is automatically mirrored on the left-right axis. A red indicator shows the position of the right signal. This provides some control of width. The signals can also be crossed to reverse the stereo image.

When panned to centre, left and right will be mono. Front-back, Sub and LR/LCR are always identical for both left and right signals.

LR/LCR Blend and Sub

The LR/LCR and Sub controls can be adjusted using the normal Pan/Aux rotaries below the screen - use the Screen Scroll buttons to move the highlight down from the Pan control to highlight LR/LCR and Sub.

The LR/LCR Blend control adjusts the type of Panning that is applied when sending to Surround busses. It blends a normal stereo panner with an LCR panner by varying amounts, allowing control of how much L & R is fed into C. The default is

full LCR in a New Session, but note that when loading older surround sessions the level is taken from the old Divergence control, which defaulted to hard left (= full LR).

A Blend setting of LR (Full left) only allows LR panning with no signal going to the C buss whilst a setting of LCR (full right) allows panning between L and C up to the control's centre position and panning between C and R thereafter.

The Sub control is only present on 5.1 console configurations. It is a trim control with unity gain at the centre position for sending the signal to the Sub channel of a surround buss or output.

Controlling the Sub Feed

When a Sub control is present the lower button directly below the pan rotaries switches between three different states for controlling the Sub Feed. Successive presses of the button will change to the following states:

LCRSS on - The signal can go to all busses except the sub buss according to the channel pan position. (Default mode) Sub on - The signal can only go to the Sub Buss. (Indicated by a B in the display) All on - The signal can go to all busses including the Sub Buss. (Indicated by LCRSS and B in the display)

The current state is indicated by letters in the background of the pan control display. NOTE: This control is contained in snapshots and channel presets. It is part of the Panning Scope for Snapshots.

2-13

Chapter 2

2.2.5 Routing Module ....................................................................

At the bottom of the input channel display is the Routing Module. This gives an abbreviated display of the current channel routing - on the left, the Master and Group routing, and on the right (if the channel is routed to a Direct Output) the name of the Direct Output socket. As the screen only has enough space to display one buss name, the routing of the channel to additional Groups is indicated by dots...

If the channel is a member of a Control Group, the name of that group also appears here.

Routed to Master and other

group(s) - no direct routing

Routed to Master only an

Direct routed to a socket

Displaying the Routing Module

Touching the bottom of the channel displays the full Routing module, which controls the buss routing for the signal. To hide the Routing Module, touch the same area again.

The Routing Module allows you to select the console SubGroup and/or Direct output socket routing for the channel.

2-14

Chapter 2

SubGroup Routing

When the SubGroups button is selected, the on-screen SubGroup buttons allow you to connect the channel to any number of output subgroup busses - mono subgroups are displayed with a single dot (SubGroups 1-4 in the diagram below), while stereo busses appear with a double dot (groups 5-8) and surround busses with a small box. To connect or disconnect the signal, simply press the on-screen button for the relevant SubGroup.

The number and type of SubGroups depends on the console configuration.

Direct Outputs

You can also choose to route the channel signal directly to any of the console's output sockets, by touching the Directs button. This shows a display of the console's Output sockets, so that you can select any number of sockets for the Direct Out.

Directs Selector

Output Socket Group Selector

Output Socket Selector

Minus 10dB Output Switch

Level Trim & Meter

Pre/Post Fader Switch

A Direct Output can operate in one of three modes: PRE M = Pre Mute and Pre Fader PRE = Post Mute and Pre Fader POST = Post Mute and Post Fader Its level can be trimmed by +/-18dB and a -10dB pad can be applied.

2-15

Chapter 2

Insert Routing and On/Off Switch

This button controls the routing for the input channel insert send and return selection. Touching the word Insert displays a panel which allows you to select Send and Return sockets in the same way as you would select an

Input socket or a Direct output. There is also a Send Gain control providing a trim of +/-18dB.

Touch Here to

Open / Close Panel

Touch to Select Send Socket

Touch to Select Return Socket

Socket Group Selector

Socket Selector

Insert On/Off

Worksurface Control

Pre/Post EQ/Dynamics Switch

Level Trim & Meter

Insert On/Off

The Insert can be PRE or POST EQ and Dynamics switched by the button just above the Send Gain. If you touch the In button, the channel's signal is taken from the Insert Return socket and thus switches the insert on. The In button is also on the console worksurface on the top right hand side of the input screen.

Note: If the insert is switched on but a socket has not been assigned for the insert return then there will be no signal audible in the channel.

2-16

Chapter 2

2.2.6 The ALL Button ....................................................................

The All button provides a quick way of displaying all the Input, Aux or Routing modules for a bank of eight channels. If you hold down the All button while touching the Input, Routing or Aux modules, the expanded view of the relevant module is displayed for all the visible channels.

You can also scroll through lists using the All button. For example, if you wanted to select several input sources from the same group, holding All and pressing the scroll arrow on one channel would scroll the adjacent channels as well.

In the Routing window holding the All button will also allow you to perform the following tasks:

1) Selecting Group or Direct routing for all the channels in the bank.

2) Scrolling Up and Down through lists.

3) Routing Input sources to consecutive channels without making them part of a gang.

4) Routing all channels in a bank to the same group by holding all and routing the first one.

5) Routing all the channels in a bank to consecutive direct outputs by holding all and routing the first one.

6) Routing all the channels in a bank to consecutive insert sends/returns by holding all and routing the first one.

NOTE: In examples 3, 4, 5 and 6 the functions are limited to consecutive channels in the same view mode.

2.2.7 Undo / Redo Button .............................................................

While a channel is assigned to the EQ/Dynamics/Joystick controls, the Undo/Redo LED comes on when a control is changed and pressing the button toggles between the new state and the state when assigned.

The controls affected by the undo function are input gain, phase and delay, all EQ and dynamics, all aux send levels, on/off buttons and pans, the insert and the main pan for the channel. It does not include any routing buttons.

2.2.8 Channel LCD Function Buttons .........................................

Pressing the Channel LCD Function button on the left hand side of the Input Section allows you to select the function that the individual Channel LCD Buttons are currently assigned to.

LCD

FUNCTION

SOLO SAFE

AUX SEND

>FADERS

BUILD

GANGS

SOLO

1OR2

DISP LAY

The default function is Solo. To Solo a channel use the Channel LCD Buttons just below the mute buttons in the channel strip.

ONLY

NAME

FADER

ASSIGNS

CHANNEL

mutemute mutemute mute mute mute mute

SOLO

ASSIGNS

CHANNEL

LCD

FUNCTION

01 Mo

MIC 1

PFL

02 Mo

MIC 2

PFL

03 Mo

MIC 3

PFL

04 Mo

MIC 4

PFL

05 Mo

MIC 5

PFL

06 Mo

MIC 6

PFL

07 Mo

MIC 7

PFL

Note: The console has the option of two Solo busses - See Monitoring in Chapter 4 for more details.

08 Mo

MIC 8

PFL

2-17

Chapter 2

LCD

There is also an option to assign a channel by either touching its fader or pressing its solo button. To activate either of these functions: Press the Channel LCD Function button on the left of the input section and then press the Fader Assigns Channel and/or Solo

Assigns Channel buttons. When the function is activated, the button appears with a tick in its display. Press the Solo button again to return to the standard view.

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

The Only Display Name option changes the appearance of the Channel LCD buttons when they are in Solo Mode to show the Channel Name in a large easy to read font.

To activate this function: Press the Channel LCD Function button on the left of the input section and then press the Only Display Name button. When the

function is activated, the button appears with a tick in its display. Press the Solo button again to return to the standard view.

FUNCTION

02 Mo

03 Mo

04 Mo

05 Mo

06 Mo

01 Mo

MIC 2

MIC 3

MIC 4

BUILD

GANGS

MIC 5

SOLO

1OR2

MIC 1

PFL PFL PFL PFL PFL PFL PFL PFL

SOLO SAFE

AUX SEND

>FAD ERS

MIC 6

DISPLAY

ONLY

NAME

07 Mo

MIC 7

FADER

ASSIG NS

CHAN NEL

FADER

ONLY

BUILD

GANGS

MIC 4

SOLO

1OR2

05 Mo

MIC 5

05 Mo

MIC 5

DISPLAY

NAME

06 Mo

MIC 6

06 Mo

MIC 6

ASSIG NS

CHAN NEL

07 Mo

MIC 7

07 Mo

MIC 7

SOLO SAFE

AUX SEND

>FAD ERS

02 Mo

03 Mo

01 Mo

MIC 2

MIC 1

PFL PFL PFL PFL PFL PFL PFL PFL

02 Mo

01 Mo

MIC 2

MIC 1

PFL PFL PFL PFL PFL PFL PFL PFL

MIC 3

03 Mo

MIC 3

04 Mo

08 Mo

MIC 8

SOLO

ASSIGNS

CHANNEL

SOLO

ASSIGNS

CHANNEL

08 Mo

MIC 8

08 Mo

MIC 8

LCD

FUNCTION

SOLO SAFE

AUX SEND

>FAD ERS

BUILD

GANGS

SOLO

1OR2

ONLY

DISPLAY

NAME

FADER

ASSIG NS

CHAN NEL

SOLO

ASSIGNS

CHANNEL

LCD

FUNCTION

LCD

FUNCTION

SOLO SAFE

AUX SEND

>FAD ERS

BUILD

GANGS

SOLO

1OR2

MIC 1

MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 MIC 7 MIC 8

ONLY

DISPLAY

NAME

FADER

ASSIG NS

CHAN NEL

SOLO

ASSIGNS

CHANNEL

The Safe function makes selected channels safe from all Cues.

1) Press the Channel LCD Function button

2) Press the Safe button.

3) Press the Channel LCD buttons for the channels that should be Safe (The buttons and screen channel strip will turn red).

4) Press the Channel LCD Function button to exit Safe mode.

5) Press the Solo function button to return to the standard view.

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

02 Mo

03 Mo

04 Mo

05 Mo

06 Mo

01 Mo

MIC 2

MIC 3

MIC 4

BUILD

GANGS

MIC 5

SOLO

1OR2

MIC 1

PFL PFL PFL PFL PFL PFL PFL PFL

SOLO SAFE

AUX SEND

>FAD ERS

02 Mo

03 Mo

04 Mo

01 Mo

MIC 2

MIC 1

SAFE SAFE SAFE SAFE SAFE SAFE SAFE SAFE

3 4 5

SOLO SAFE

MIC 3

AUX SEND

>FADERS

MIC 4

BUILD GANGS

05 Mo

MIC 5

SOLO

1OR2

MIC 6

ONLY

DISPLAY

NAME

06 Mo

MIC 6

ONLY

DISPLAY

NAME

07 Mo

MIC 7

FADER

ASSIG NS

CHAN NEL

07 Mo

MIC 7

FADER

ASSIGNS

CHANNEL

08 Mo

MIC 8

SOLO

ASSIGNS

CHANNEL

08 Mo

MIC 8

SOLO

ASSIGN S

CHANNEL

LCD

FUNCTION

02 Mo

03 Mo

04 Mo

05 Mo

06 Mo

01 Mo

MIC 2

MIC 3

MIC 4

MIC 1

PFL PFL PFL PFL PFL PFL PFL PFL

MIC 5

MIC 6

07 Mo

MIC 7

08 Mo

MIC 8

2-18

Chapter 2

The Aux Send > Faders function allows you to control the Aux Send levels for a selected channel with the Upper and Lower Master

Faders.

1) Press the Channel LCD Function button

2) Press the Aux Send > Faders button.

3) Press the Channel LCD buttons for the channel that you wish to control.

4) Press the Channel LCD Function button to exit Aux Send > Faders mode.

5) Press the Solo function button to return to the standard view.

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

02 Mo

01 Mo

MIC 1

PFL PFL PFL PFL PFL PFL PFL PFL

SOLO SAF E

02 Mo

01 Mo

MIC 1

AUX>FA D AUX> FAD AUX>FA D AUX>FA D AUX> F AD AUX> FAD AUX>FAD AU X>FAD

MIC 2

03 Mo

MIC 3

AUX SEND

>FADERS

03 Mo

MIC 3

04 Mo

MIC 4

BUILD

GANGS

04 Mo

MIC 4

05 Mo

MIC 5

SOLO

1OR2

05 Mo

MIC 5

06 Mo

MIC 6

ONLY

DISPLAY

NAME

06 Mo

MIC 6

07 Mo

MIC 7

FADER

ASSIGNS

CHAN NEL

07 Mo

MIC 7

08 Mo

MIC 8

SOLO

ASSIGNS

CHANNEL

08 Mo

MIC 8

MASTER SECTION

UPPER FADERS

LCD

FUNCTION

01 Mo

MIC 1

AUX>FA D AUX> FAD AUX>FA D AUX>FA D AUX> F AD AUX> FAD AUX>FAD AU X>FAD

LCD

SOLO SAF E

LCD

01 Mo

MIC 1

PFL PFL P FL PFL PFL PFL PFL PFL

02 Mo

MIC 2

02 Mo

MIC 2

AUX1 AUX2 AUX3 AUX4 AUX5 AUX6 AUX7 AUX8

03 Mo

MIC 3

AUX SEND

>FADERS

03 Mo

MIC 3

04 Mo

MIC 4

BUILD GANGS

MIC 4

05 Mo

MIC 5

SOLO

1OR2

05 Mo

MIC 5

06 Mo

MIC 6

ONLY

DISPL AY

NAME

06 Mo

MIC 6

07 Mo

MIC 7

FADER

ASSIGNS

CHANNEL

07 Mo

MIC 7

08 Mo

MIC 8

SOLO

ASSIGNS

CHANNEL

08 Mo

MIC 8

2-19

Chapter 2

2.3 Ganging

Ganging is the linking of input channel controls which will allow most types of adjustment made to one channel within the gang to be automatically made to all of the other members.

For example, if 2 channels are ganged and a fader movement is made on one of them, the other will be adjusted in the same way. Ganging can apply to any number of channels within one Input Bank.

2.3.1 Creating a Gang ...................................................................

1) Press the Channel LCD Function button on the left of the Input Bank.

2) Press the Build Gangs button.

3) Press the LCD Buttons for the channels that you wish to gang (They will change colour).

4) Press the Channel LCD Function button again to exit ganging mode.

5) Press the Solo button to return to the standard view.

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

02 Mo

01 Mo

MIC 1

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

SOLO SAFE

02 Mo

01 Mo

MIC 1

GANG GA NG GANG GANG GANG GANG GANG GANG

3 4 5

MIC 2

03 Mo

MIC 3

AUX SEN D

>FADERS

03 Mo

MIC 3

04 Mo

MIC 4

BUILD

GANGS

04 Mo

MIC 4

05 Mo

MIC 5

SOLO

1OR2

05 Mo

MIC 5

06 Mo

MIC 6

ONLY

DISPLAY

NAME

06 Mo

MIC 6

07 Mo

MIC 7

FADER

ASSIGNS

CHANNEL

07 Mo

MIC 7

08 Mo

MIC 8

08 Mo

MIC 8

SOLO

ASSIGNS

CHANNEL

LCD

FUNCTION

LCD

FUNCTION

SOLO SAFE

02 Mo

01 Mo

MIC 2

MIC 1

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

AUX SEND

>FADERS

03 Mo

MIC 3

BUILD

GANGS

04 Mo

MIC 4

SOLO

1OR2

05 Mo

MIC 5

ONLY

DISP LAY

NAME

06 Mo

MIC 6

FADER

ASSIGNS

CHANNEL

07 Mo

MIC 7

SOLO

ASSIGNS

CHANNEL

08 Mo

MIC 8

To create another new gang you should repeat the process. When a channel is a member of a gang, a coloured line will appear at the bottom of that channel's screen display. Adjacent gangs are

assigned different colours. Ganging is also indicated by triangular symbols on the LCD buttons.

NOTE: Members of the gang do not have to be in adjacent channels, they can be anywhere within the 8 channels in an input bank.

2.3.2 Clearing or Editing a Gang .................................................

A gang can be cleared or edited at any time by entering the Build Gangs mode as described in section 2.3.1. To remove a member of the gang press the relevant highlighted LCD Buttons and they will return to their original colour and no longer be

members of the gang. To clear the gang remove all the members in the same way.

2.3.3 How a Gang Works ..............................................................

When channels are added to a gang their present settings are retained until an adjustment is made to any of the members controls. When this happens all members of the gang will be adjusted in the same way as the first but relative to their own starting position.

For example, if the channel fader of one member of a gang is at minus 6dB and another is at 0dB, when the first fader is raised to 0dB, the second will be automatically raised to plus 6dB.

ie. Both faders will be raised by 6dB from their previous position. A similar situation exists with the other channel controls such as EQ and Auxiliary sends but when any of the gang members' controls

reaches its maximum or minimum level the relative offset relationship is lost. Only the channel faders can retain their relative offsets after they have reached a maximum or minimum level.

Adjusting settings for one member of a gang

If you wish to adjust the settings for one member of a gang without affecting the others, a member of a gang can be temporarily isolated from the rest of its gang by holding the channel's solo button down while adjustments are being made. When solo is released the channel will continue to behave as a normal gang member.

Which controls are affected by ganging?

Screen display changes such as showing the input or group routing modules can be different between gang members but the functions themselves are always linked.

For example, if 4 channels were members of a gang and a different input source was selected for one of them, the other three input sources would automatically be assigned to the next consecutive sockets in that input group. This assumes that there are enough input sources for all the gang members in the socket group. If there are not enough sources, the gang will be allocated as many as are available at that time.

2-20

Chapter 2

In a similar way, if one gang members group routing is changed, the other gang members will all be routed to the same group.

NOTE: The following controls are not affected by changes to other gang members:

Channel and Aux Pans Sub Feed Modes Input Phase buttons Solos All other controls are affected by changes to other gang members including;

1) Presets

If a preset is selected for one gang member it will load into all the other gang members as well.

2) Socket Routing Buttons ie. Input source, Direct Out and Insert Send / Return.

2.4 Layout

2.4.1 External Screens ..................................................................

Each of the console's worksurface screens have an equivalent SVGA video output on the back of the console and therefore any of the input screens can be duplicated to an external colour monitor. Input screens are 640 x 480 resolution

There is also an output for an Overview screen and this can be customised to show different combinations of the console's controls using the functions in the Layout menu. It is recommended to use a 1280 x 1024 resolution for greatest flexibility. The monitor should be Plug N Play compatible.

Each channel displays the essential meters, switches and fader, which may be operated with the trackball if required. Coloured rectangles surround the channels which are currently assigned to the worksurface: magenta for the Input Banks and red for the

Master Banks.

2-21

Chapter 2

size

2.4.2 Overview Setup ....................................................................

To change the appearance of the Overview screen touch the Layout button on the Master Screen and touch the Overview Setup button.

This panel allows you to select which banks appear on the screen and whether they are Large or Small format. The default view shows Channel Banks and Master Banks in small format.

To show your choice of Output Banks, touch the relevant buttons in the left hand column and then touch the related Small or Large buttons on the right.

2.4.3 Channel Banks .....................................................................

The naming and assignment of the worksurface Fader Banks is controlled from the Channel Banks panel in the Layout menu on the Master Screen.

To Name a Channel Bank, touch the existing name eg Ch 1-8 and type a new one. To include the Channel Bank on the Overview Screen touch the Include button next to the relevant Bank name. To change the appearance of the Channel Banks on the Overview Screen touch the Small or Large View buttons at the bottom of the

panel.

Touch here and type to

name Channel Bank

Assign Bank to

Worksurface

Clear Bank fro

Worksurface

2-22

Include channel

inOverviewScreen

Overview Screen

To Clear a Channel Bank from a worksurface Fader Bank:

in Overview Screen

1) Touch the Clear Assignment button.

2) Press the Fader Bank button that you wish to clear.

To assign a Channel bank to one of the console worksurface Fader Banks:

1) Touch the Channel Bank Assign button

2) Press the relevant Fader Bank button.

Chapter 2

2.4.4 Master Banks ........................................................................

The naming and assignment of the worksurface Master Fader Banks is controlled from the Master Fader Banks panel in the Layout menu on the Master Screen.

To Name a Master Fader Bank, touch the existing name eg CG 1-8 and type a new one. To include the Master Fader Bank on the Overview Screen touch the Include button next to the relevant Bank name. To change the appearance of the Master Fader Banks on the Overview Screen touch the Small or Large View buttons at the bottom of

the panel.

Touch here and type to

name Master Bank

Include Master Bank

Overview Scree

size

Clear Bank from

Worksurface

2-23

Chapter 2

2.4.5 Move Channels .....................................................................

Touching the Move Channels button in the Layout menu opens the Move Input Channels panel which allows a single channel or a range of channels to be moved.

Touching a single channel allows it to be shuffled left or right with the arrows at the bottom of the panel. Both halves of a stereo linked pair are automatically selected together. Shuffling will automatically skip past stereo-linked pairs when moving the selected channels to their new positions.

Touching two channels or a gang defines a range to be moved. The shuffle arrows now operate on this range of channels, and the double arrows move by the number of channels in the range.

Touching a third channel defines the left of the destination range and enables the Move Intervening and Swap Channels buttons. A move or a swap cannot take place if a stereo pair would be split as a result; a warning message is displayed instead.

Move Intervening means move the source range to the destination position and shuffle all channels between the source and the destination (including all channels in the destination range) to fill the gap left by the source range.

Swap Channels swaps the source and destination ranges leaving intervening channels alone. Move and Swap have the same effect if the source and destination ranges overlap.

After a Move or a Swap the selections are cleared but the panel remains visible tor a new selection. The shuffle buttons do not clear any selections and remain enabled as long as at least one source channel is selected.

Single channels may be moved or swapped simply by touching the source channel twice when the top selection button is pressed. Any of the three selections can be changed by pressing the relevant button and touching a fader.

2.4.6 Copy Channels .....................................................................

Touching the Copy Channels button in the Layout menu opens the Copy Input Channels panel which allows different elements of channel settings to be copied.

Touch faders to define the start and end of the range to be copied and then touch a third fader to define the destination for the left hand side of the group. The selected group will be highlighted in yellow in the input screen.

The destination channels will be overwritten and their previous settings will be deleted

Scope

Which controller values are copied depends on the scope buttons beneath the word Include. INP = all input routing controls, including gain and signal source EQ = all EQ controls, plus HP and LP filters DYN = all Gate and Compressor controls plus gate key route, and HP / LP filters in dynamics AUX = all aux send controls

2-24

Chapter 2

FAD=channel fader positions PAN = L/R and F/B pan or balance, Sub and Divergence levels and switches GRP = Group routing buttons only Channel mutes and control group membership are always included.

Direct Outputs and Insert Sends can only be fed from one channel at a time and therefore their routing is not copied. Stereo channels will be copied as long as sufficient audio processing (unrouted channels) is available, otherwise they will appear as mono.

2.4.7 Duplicate Channel ................................................................

Where Copy Channels only duplicates each of a block of channels once, the Duplicate Channel panel allows a single source channel to be copied into several destination channels, duplicating the source several times.

Touch a fader to define which channel will be duplicated and then touch two more channels to define the destination range. The source channel will be duplicated into each channel in the destination range.

Scope is applied in the same way as with Copy Channels (See previous section).

2-25

Chapter 2

2.4.8 Channel Overview ................................................................

The Channel Overview panel in the Layout menu provides similar functions to the Channel Banks panel and a graphic representation of all the consoles input channels. Many controls can be adjusted on screen using the mouse/trackball controls.

The coloured outlines represent the banks that are currently being viewed on the worksurface and this view can be changed by touching the on screen banks. The Fader Banks can be named by touching their label and typing.

To clear a bank from the worksurface, hold down the relevant bank button on the worksurface and touch the on screen Clear Bank button.

To assign a bank to the worksurface, hold down the relevant bank button on the worksurface and touch the on screen bank that you wish to assign.

The Set 0dB and Set - oo buttons may be used to reset all or selected fader levels for the top and/or bottom row of channel faders. To Select Channels, drag the mouse through the white boxes beneath the bank labels and release - the selected channels will be

highlighted in yellow. If channels are selected, then the Copy and Move functions become available and pressing either of these buttons will open the relevant

panel with the source channels already selected.

Hold Fader Bank button

andtouchheretoclear

fader bank from worksu rface

Touchhereandtypeto

name Bank

Drag mouse through whit

boxes to select channels

Sets all or selected faders

to unity gain

Sets all or selected faders

to off

Include Master Bank

in Overview Screen

2-26

Chapter 3

Busses and Outputs

3-1

Chapter 3

3-2

Chapter 3

3.1 Busses and Outputs

3.1.1 Buss Outputs Display ..........................................................

The Master, Sub Group and Aux busses are displayed on the Master Screen, and the buss levels are controlled by the fader banks below the screen:

The exact appearance of the screen depends on the console's current buss configuration, but the layout will look something like this:

Scrolling the Master Screen

If the console configuration is using more than the 24 outputs which the screen can display, you can "scroll" the screen down the rows of busses using the Master Screen Scroll on the left hand side of the section

On Screen Buss Output Controls

Each buss has Mute, Solo, Insert On/Off and Limiter In/Out buttons and the screen also displays an Over light for each buss - these are described in the next section.

3-3

Chapter 3

3.1.2 Expanding the Buss Output View ......................................

In the default state shown on the previous page, the level for each buss is controlled by a single fader, whether the buss is mono, stereo or surround.

To see an expanded view of an assigned buss and access additional controls, touch the buss meter display.

Touching the expanded view of the buss meter will restore the display back to the single-fader mode.

3.2 Output and Buss Controls

Once an output channel is expanded, you can access its controls.

Buss Label

Buss Control button

Level Trim (use fader) Mute

Limiter In/Out Limiter Threshold (use fader)

Limiter Release (use fader)

"Over" Indicator

Output Routing

The Label, Buss Control and Routing settings apply to the whole buss, but for Stereo and Surround busses the other controls can be set independently for each signal on the buss.

3-4

Chapter 3

3.2.1 Label ......................................................................................

The Label operates in the same way as an Input Channel label - to change it, just touch the on-screen label, then type a new name on the computer keyboard or the On Screen Touch Keyboard.

When a buss is labelled its name will appear in the input channel routing display.

3.2.2 Buss Control Button ............................................................

Touching the Buss Control button displays a screen showing which channels are currently routed to the buss and offers different options according to the type of buss it is.

Group Buss Control

Connect All routes all input channels to the buss.

Any fader which is being touched will be omitted from the connection process to facilitate the set up of a mix-minus feed. Clear All clears the routing of all input channels from the buss. Any fader which is being touched will be omitted from the clearing process and remain connected to the buss. To Master allows the sub group to be routed onto the Master Buss. Only sub groups whose width is the same as the Master Buss can be

routed in this way (ie. stereo groups on a stereo console; surround stems only in surround modes). When a buss is routed to the Master Mix, audio processing resources are taken from the highest numbered available input channels. If

insufficient channels are available a message is displayed quoting the number required. If any of the input channels routed to thesub group are also routed to the Master Mix, a warning is displayed.

Note: The To Master button is not included in cues.

Auxiliary Buss Control

Switch All Pre-Mute/Pre-Fader makes the auxiliary sends for this particular buss pre-mute and pre-fader on all channels. Switch All Post-Mute/Pre-Fader makes the auxiliary sends for this particular buss post-mute and pre-fader on all channels. Switch All Post-Mute/Post-Fader makes the auxiliary sends for this particular buss post-mute and post-fader on all channels. Copy Levels from Faders makes the auxiliary send levels for this particular buss the same as the fader levels on each different channel. Set Levels OFF turns off all the auxiliary sends for this particular buss on all channels. Set Levels to 0dB makes the auxiliary send levels for this particular buss 0dB on all channels. Assign Sends To Faders transfers auxiliary send control to the channel faders for the relevant auxiliary. Assign Sends To Rotaries scrolls the input channel view to the relevant auxiliary and allows immediate rotary control of the send. Note: To activate Assign Sends to Faders/Rotaries using Solo Press see Section 4.5 - Master LCD Function Buttons.

3-5

Chapter 3

3.2.3 Level Trim .............................................................................

This trims the level for each buss signal. For Stereo or Surround busses, you can trim the level of each signal independently using the fader below the display. The faders can also be assigned to the Limiter controls (see below) - touch the Level Trim display to assign the fader to the Level control.

3.2.4 Limiter ...................................................................................

The Limiter is a feed-forward system which provides absolute signal limiting. You can operate the on-screen In/Out switch by touching it or by using the LCD button.

As with the Level, the Limiter Threshold and Release time are set using the fader below the display. To adjust eg the Threshold setting, touch the on-screen display of the Threshold - this will make the on-screen Threshold slider control turn red, indicating that this control is now assigned to the physical fader below the screen.

The Over indicator lights up whenever the Limiter is activated, or if the Limiter is switched out, whenever the buss signal level goes over 0dB. Once lit, the Over light stays on until it is touched.

3.2.5 Mute .......................................................................................

Touching the Mute button on the screen or the worksurface cuts the output signal from the relevant buss.

3.2.6 Meters ....................................................................................

The Meters display the signal level, and indicate a peak level.

3.2.7 Output Channel Routing .....................................................

The Buss Routing section indicates which output sockets the channel is currently connected to. To alter this routing, touch the Routing section: you can then select a socket (or a number of sockets) to which the buss signal(s) are routed.

NOTE: If an output socket button is disabled (Text in white) and is touched, a message temporarily pops up explaining why.

Note that with Stereo or Surround busses, you cannot route the buss signals separately - by assigning the socket for the left most buss channel, you also assign the next socket(s) in the socket Group to the remaining buss signal(s). The illustration above shows a stereo group, so choosing socket Loc op 1 would assign the left buss signal to socket Loc op 1, and the right buss signal to socket Loc op 2.

NOTE: The order of signals output from a surround stem can be adjusted by using the System/Service/Configure Hardware menu. This closes the current session and opens the DiGiConfig program - For more information, please refer to the Interconnection and System Setup section.

3-6

Chapter 3

3.2.8 Buss Signals as Input Sources ..........................................

The output results from output channels can be returned into input channels by scrolling to the bottom of the Signal Group listing at the input stage of a channel.

You will see Signal Groups for each type of buss which is in the current console configuration (eg Mono, Stereo, LCRS etc) Touching the Signal Group buttons will show the separate legs of each buss and these signals can then be selected as inputs in the normal way.

These signals are labelled with a "~" to indicate that they are buss results and are therefore subject to delays.

3.2.9 Headphones ..........................................................................

The headphones are always fed by the monitor/solo1 signals and there is a dedicated level control in the worksurface Monitor section on the right hand side of the worksurface.

3.2.10 Output Insert ......................................................................

In the buss master routing panel there is an Output Insert facility that can be used to route signals to effects and processing. This is particularly useful if you wish to use outboard processors on the output of a buss.

In this situation the output should be routed to its normal destination but it will be diverted through the Send and Return for processing. Touch the Send button and select the input to the required processor, then touch the Return button and select the output from the same

unit. Then touch the Output Insert button to switch it on.

IMPORTANT NOTE: The Insert Send signal is post fader until the Insert Return is routed from a MADI signal.

3-7

Chapter 3

3.3 The Matrix

3.3.1 Matrix Inputs .........................................................................

The 32x32 way matrix is accessed by touching the Matrix Inputs button on the master screen or the Matrix button on the far right of the worksurface master section.

Inputs are selected in the same way as the input channels (See Section 1.3.1).

To route a Sub Group into the Matrix:

1) Touch the Matrix Inputs button on the master screen to open the panel.

2) Touch the top of the input screen to open the input panel.

2) Touch the Stereo Buss or Mono Buss button to view the names of the Sub Groups.

3) Touch the name of the signal to assign it to the channel eg.SubGrp1L

4) Touch the top of the input screen again to return to the standard view.

inputs and outputs.

Matrix Send

Send On/Of

Open Matrix

Clear All Selections Scroll Inputs

Matrix Presets

3.3.2 Matrix Processing ................................................................

Input Trim

Delay Con trols

Switch Direct

Output On/Off

EQ controllled by 3 rows of rotaries/switches below the input screen

3-8

EQ Mod ule

Dynamics Module

Compressor controllled by first row of rotaries/switches b elow the input scree

Meter / Mu te / AFL

Label

Routing Module

Worksurface controls are as follows:

Chapter 3

Trim

Mute Solo Label Output Routin

Delay Time

These channels provide Trim, Delay up to 510ms, Compression and 6 Band Parametric EQ.

3.3.3 Routing Matrix Groups To Outputs ...................................

Matrix Group signals may be routed to a pre EQ, pre fader direct output and/or a post fader output

To Route a Matrix Group to a post fader Output:

1) Touch the bottom of the matrix group screen to open the routing panel.

2) Touch the Outputs button if it is not already highlighted.

3) Touch the name of the Socket Group to view the output socket names.

4) Touch the Output Socket button(s) that you require eg. Loc op 1, Loc op 2 etc.

5) Touch the bottom of the input screen again to return to the standard view.

Delay In/Out

Compressor Threshold

Compressor In/Out

1 5

3-9

Chapter 3

To Route a Matrix Group to a pre EQ, pre fader Direct Output:

1) Touch the bottom of the matrix group screen to open the routing panel.

2) Touch the Direct button if it is not already highlighted.

3) Touch the name of the Socket Group to view the output socket names.

4) Touch the Output Socket button(s) that you require eg. Loc op 1, Loc op 2 etc.

5) Touch the bottom of the input screen again to return to the standard view.

6) Touch the Direct On button to turn the output on.

1 5

3-10

Chapter 4

Master Section

4-1

Chapter 4

4-2

Chapter 4

4.1 Master Section

The Master section of the D5T console includes the output controls described in the previous chapter and the meter bridge above it:

Meter Status

Master Screen

Mute and Interactive LCD

Function Button

Output / Control Group

Faders

Mute and Interactive LCD

Function Button

Output / Control Group

Faders

Screen

Scroll

Talkback

Cues

Monitoring

Master Fader Banks

Matrix Controls

Flip Master Fader Banks Master Mute

Previous Cue Button

Master Fader Banks

Master Fader

Next Cue Button

4.1.1 The Master Screen ...............................................................

Master Screen Status Display

The master screen displays information on the current session, mode, timecode and sync at the top left. The system date and time are displayed on the right Further system information can be found in the Diagnostics Panel (System Menu).

4-3

Chapter 4

4.1.2 The Menu Buttons ...............................................................

System Menu

This menu, displayed by touching the System button, contains additional buttons which display system information.

System Shut Down Button

This command should be used to shut down the console in normal operation.

Quit To Windows Command

In the Service menu, this button will close the D5T program but will remain in a Windows environment. It is unlikely that the user will need this option in normal operation.

System Options

To adjust the level of lighting on the console use the up down arrows next to the value boxes for White Light Illumination Brightness, Screen Brightness or Surface Label Display Brightness

Use On Screen Touch Keyboard activates a touch sensitive keyboard which will automatically appear on screen when any label button

(Channel, name, control group etc) is pressed. While editing numeric-only data such as timecode, a small numeric keypad will appear. This is intended as an alternative to using the computer keyboard itself.

Show System Status Indicators activates on screen information concerning the system. This will appear in the bottom right hand corner of the Master Screen.

Show aux and fader dB Pop-up Readouts activates yellow boxes which pop up showing the Auxiliary send and fader dB displays. Display System Alerts activates on screen information to warn the user of any potential problem with the system. Round to whole dBs switches any dB readouts to whole dB measurements instead of decimal places.

4-4

Chapter 4

4.1.3 Console Security ..................................................................

The console has 3 modes of operation which dictate the types of operations that can be performed. The Setup mode is essential if you wish to access all the console operations but when the basic setup is complete you may wish to switch

to Live mode which only enables changes to controllers and not routing, reconfiguring or labelling. This may prevent accidental changes to the basic setup.

For total security the Unattended mode locks the console completely and all operations are disabled. This state can only be changed by typing a password - the standard password is D5.

4.1.4 Consoles and Racks ............................................................

If the system has been defined as consisting of more than one device, the Consoles & Racks panel will automatically open on boot up or load session.

If the crossed Ethernet cable or Ethernet switch has been connected, then the Ethernet Connected line should show a green OK light and not a red cross.

The initial state will have no connection between the devices (Independent) or the racks (Isolated) and the panel appears in order to prompt the operator to make the necessary connections.

In this state, any gain adjustments made on the console will have no effect as the racks will not be receiving any data. The console’s MASTER Audio Outputs Active button will normally be highlighted in orange to show that it is the master responsible for

audio processing at this time. The same button on the other consoles in the system should not be highlighted at all. The MADI Rack’s connect states Receive Only and Full Connect are enabled/disabled and set according to the Audio Master active state

– an inactive engine cannot output to a MADI rack.

Main Console Redundant Engine, Mirror Console or Remote

If you have a system where more than one console is sharing the racks you may wish to use the Receive Only mode where the console will receive the rack’s existing settings but will not be able to control the gain on the racks.

Options are: Isolate where the console will not communicate with the racks and therefore any adjustment of input gain or +48V switch will have no

effect on the rack settings.

Receive Only where the console will receive the rack’s existing settings but will not be able to control the gain etc on the racks. Full Connect where the console will send its settings to the racks and change them accordingly.

If Copy to MADI has been ticked in the Hardware Configuration for the optocore racks, then the Listen to Copied MADI button provides a quick switch from monitoring the normal signals received via optocore connections from the stage racks to signals received at the MADI inputs on the console's rear panel.

In this way a MADI equipped multitrack recorder can be connected to the MADI 1 In and Out on the rear of the console and record the stage rack microphone signals directly. The recording can then be played back into the same channels as the original microphones by pressing the Listen to Copied MADI button.

For more information on the use of this panel please see the chapter on Multiple Console Setups.

4-5

Chapter 4

4.2 Configuring the Console

As a digital console, the D5T is highly configurable, allowing a wide range of different bussing formats and channel configurations. This section describes how to use the command buttons on the Master Screen to Configure, store and recall sessions.

A Session file contains the following information:

• The console configuration.

• The Cues.

• The Dynamic automation.

A Session file therefore represents a complete "snapshot" of the console, and is the simplest way to store and recall a complete system setup.

4.2.1 Session Files Menu..............................................................

All of the configuration and file management functions are handled in the Session Files Menu which is accessed by touching the button on the Master Screen.

4.2.2 The New Session Panel .......................................................

To create a new session, touch the Session Files button on the master screen and then touch the New Session button. The following panel will appear:

The Sub Groups and Auxes settings allow you to define the format and number of the Aux and Sub Group busses. The total amount of busses cannot exceed 72.

4-6

Chapter 4

4.2.3 Clearing Settings .................................................................

are pressed, the relevant settings will be cleared. If you are simply adjusting the buss configuration of an existing console you are unlikely to wish to clear all of your current settings.

4.2.4 The Load Session Button ...................................................

Touching this button will open the following panel.

This panel shows the contents of your drives and folders, listing any saved sessions with a note of the console configurations on the right hand side of the screen. These include the removable drive that can be plugged into the USB Data Port on the meter bridge.

Simply select the drive you require in the bottom left corner and then open a folder from the scrolling list next to it by touching it. You can then touch a specific session file to highlight it and touch the Load button to open the session.

Sessions can also be renamed or deleted in this panel using the Rename File or Delete File buttons in the same way. The smaller New Project, Rename, and Delete buttons all refer to the folder listing and also appear in the Save As New File Panel The Set Backup Files button is only relevant if your system is connected to a NetTracs server which is used in multiple console environ-

ments to store and backup files.

New Project

Creates a new folder with the default name Proj001. You can then rename this as required.

Rename

Touch this button and then touch the folder name that you wish to change. This will then be highlighted and you may type a new name.

Delete

Touch this button and then touch the folder name that you wish to delete. You will then be asked to confirm the deletion request.

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Chapter 4

4.2.5 The Save As New File Button .............................................

Touching this button will open the following panel.

This panel allows sessions to be saved as new files under new names. Select your drive and folder by touching in the boxes in the bottom left corner, then touch and type a new file name (with a maximum of 8 letters and no punctuation) in the box on the top left. You may also specify a session title which can be a different name to the file itself and may therefore be longer and more descriptive. Then touch the

Save button to complete the process. NB: If you touch a session name on the existing list, this name will automatically be selected as the new file name and

touching Save will overwrite the old file.

4.2.6 The Save Session Button ....................................................

This button which is found above the Save As New File button will save the existing session in the same location and under the same file name as it was previously saved or loaded from. It therefore serves as a "Quick Save" option to update an existing session.

Remember that this function will overwrite your last saved version. If you wish to save the session under a new name use the Sessions menu button and select Save As New File (See above).

4.2.7 USB Data Port .......................................................................

The console ie equipped with a Data Port which is designed for use with a key-ring style data card. To use this facility, insert the card into the USB Data Port and it will be recognised as an external drive. It will then appear in the Load and Save panels and can be used for storage and retrieval of sessions and presets.

4.2.8 Managing Presets ................................................................

Each session file has an associated presets file with the same name and the file extension .PRE. When a session file is saved, the presets file is automatically saved as well. You may, however, load and save presets files independently.

Presets (Channel, EQ, Dynamics and Matrix) can be loaded and saved in any file ending with .PRE. Under the Sessions menu, touch the Load Presets button and the following panel will appear:

This panel shows the contents of your drives and folders, listing any saved presets. Simply select the drive you require in the bottom left corner and then open a folder from the scrolling list next to it by touching it. You can

then touch a specific preset file to highlight it and touch the Load button. If you wish to keep your existing presets and add the contents of a saved presets file to them, touch the Merge button. Presets can also be renamed or deleted in this panel using the Rename File or Delete File buttons in the same way. The smaller New Folder, Rename, and Delete buttons all refer to the folder listing and also appear in the Save Presets panel. To save a Preset file touch the Save Presets button and the following panel will appear:

4-8

Chapter 4

Select a drive and folder in the bottom left hand corner of the panel, type a new name in the New Filename box and press the Save button.

NOTE: The current presets file is always saved automatically when the console is shut down

4.2.9 Monitoring ............................................................................

The Monitoring panel can be found under the Setup Menu in the Master Screen and some of the controls can be accessed on the right hand side of the Master worksurface.

It may be accessed at any time to change the monitoring setup.

Solo Modes

Solo1Controls

Monitor Master Buss

When No Solo On

Set Solo 1 Mono Set Solo 2 Mono

Clear All Solos

RouteSolo1ToOutput

Solo Safe

Assign Solo 2 Level

to Master fader

Route Solo 2 To Output

Solo 2 Controls

4-9

Chapter 4

There are two solo busses and each console solo button can be independently assigned to use Solo 1 or Solo 2. Output solos may use a total of 16 inputs to each solo buss.

Therefore, if the console was being used for stage monitors, the first solo buss could feed an "in ear" monitor and the second solo buss could feed a wedge.

To use Solo 2 there must be sufficient busses available (at least two) and if Solo 2 does not appear on the panel a new session should be created to make these busses available.

To Select Solo 1 or 2 for a Buss or Channel

1) Press the Master or Channel LCD Function button for the relevant bank or channel.

2) Press the Solo 1 OR 2 button - All Solos are set to Solo 1 by default.

3) Press the LCD button for the Buss or Channel that you wish to switch to Solo 2 (It will change colour and Solo 2 will be indicated).

4) Press the Master or Channel LCD Function button to exit Solo 1 or 2 mode.

5) Press the Solo function button to return to the standard view and you will see Solo 2 indicated on the button.

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

A01 [0]

Aux 01

A02 [0]

Aux 02

AFL AFL AFL AFL AFL AFL AFL AFL

SOLO SAFE

A03 [0]

Aux 03

ASSIGN FADERS

A04 [0]

Aux 04

UNASSIGN

FADERS

A05 [0]

Aux 05

SOLO

1OR2

A06 [0]

Aux 06

BUILD

BANK

A07 [0]

Aux 07

SOLO

ASSIGNS

AUX>ROT

A01 [0]

Aux 01

SOLO 1 2<

A02 [0] A0 3 [0] A04 [0] A05 [0] A06 [0] A07 [0] A08 [0]

Aux02 Aux03 Aux04 Aux05 Aux06 Aux07 Aux08

SOLO 1<2 SOLO 1<2 SOLO 1 <2 S OLO 1<2 S OLO 1<2 SOLO 1<2 S OLO 1<2

SOLO SAFE

ASSIGN FADERS

UNASSIGN

FADERS

SOLO

1OR2

BUILD

BANK

SOLO

ASSIGNS

AUX>ROT

A01 [0]

Aux 01

A02 [0] A0 3 [0] A04 [0] A05 [0] A06 [0] A07 [0] A08 [0]

Aux02 Aux03 Aux04 Aux05 Aux06 Aux07 Aux08

AFL2 AFL AFL AFL AFL AFL AFL AFL

A08 [0]

Aux 08

SOLO

ASSIGNS

AUX>FAD

SOLO

ASSIGNS

AUX>FAD

PFL (Default mode with nothing else selected)

Mono pre-fader listen mode which only uses one reserved buss.

AFL

Monitoring the signal at post-fader level with full stereo or surround panning which uses the same number of busses as the Master buss.

SIP (Destructive Solo In Place)

This function leaves the soloed signal routed to its current destination and mutes all non-soloed signals. To hear the soloed signal(s), the relevant buss(es) should be monitored.

Note: This function can only be switched on by holding down the SIP button for 2 seconds. Single

Single mode means that only one channel can be soloed at a time. If single is not selected, any number of channels can be soloed simultaneously.

Monitor/Solo 1 and Solo 2 Outputs

This allows you to select dedicated output sockets for the Monitor/Solo 1 and/or Solo 2 signals. Touch the required Output Signal Group button and then the first output (left) that you require from that group. The second output (right) will be automatically selected. A button at the bottom of the panel will switch the solo to Mono.

Monitor Delay

The monitor signal can be delayed by up to 160ms using the on screen rotary control. This control may also be adjusted by touching it on screen and using the worksurface Matrix rotary control.

Monitor Master

If this button is pressed, the master buss will be monitored when no solos are on.

Solo 2 Assign To Master Fader

If this button is pressed, Solo 2's Level and Mute controls can be adjusted using the Master Fader and Mute.

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Chapter 4

Monitor Mute

Touch the Mute button to cut the monitor signal.

Solo Clear

Pressing the Solo Clear button will ensure that there are no solos engaged anywhere on the console.

Solo Trim Level

The Solo Level may be adjusted by altering the dB value in the Trim Level box. If the worksurface "Solo Trim" control is adjusted, this panel will automatically appear and the Trim Level value will change to reflect any adjustment.

Solo Safe

Solo safe may be used in any solo mode. If the Solo Safe button is pressed, channels that appear on the list will be soloed automatically whenever any other solo is pressed. To add channels to the list, press the Touch Faders to Select button and touch the required faders. When the Solo Safe button is

switched off, the list is not affected and the Solo Safe function is disabled. The contents of the list are saved in the session files.

Note: If one of the channels on the list is soloed manually the other channels are not automatically soloed with it.

4.2.10 Master Section Meters .......................................................

Successive presses of the Meter Button in the top right hand corner of the worksurface will toggle through three metering options, these are:

Meter Master Buss (Default) Meter Monitors

The meters will show the selected type of monitor signal. (Master buss or PFL/AFL/Destructive SIP)

Meter Selected Busses

The meters in the console's Master section can be assigned to any console buss. To assign Group or Aux busses to the Master meters, press and hold down the Meter Button in the top right hand corner of the

worksurface and touch up to eight buss displays on the Master screen one after the other. Release the button when all the required busses are selected.

Upper Bank

The meters follow the currently assigned upper master fader bank. Unlike the other modes, the fourth displays stereo groups on one meter with twin peaks, just like input channels. Surround groups only meter left & right signals in this mode.

Note: If input channels have been assigned to master banks, the metered signal is pre-fader.

4.2.11 Meter Bridge Options ........................................................

Touching the Meter Bridge button in the Setup menu allows you to choose between two options: The default setting is Inputs & Outputs where the Input Section meters show the corresponding Input Channel signal and the Master

Section Meters show the outputs. The other option is All Outputs where the output signals are shown consecutively across the entire Meter Bridge. In this mode, holding the Meter Button and touching a row of on-screen outputs will determine which outputs are assigned to the meters

on the first Input Section.

4-11

Chapter 4

4.2.12 Meter Ballistics ...................................................................

Touching the Meter Ballistics button in the Setup menu opens the following panel:

This allows ballistics to be altered for all meters on the bridge and screens using the up/down arrows on the panel.

VU Default sets Attack and Release to 300ms. PPM Default sets Attack to 41ms and Release to 416ms which are the engine defaults. Peak Hold time can be adjusted to a value between 10 and 9999ms

4.2.13 Restart and Recovery ........................................................

When changes are made to a session it is important to save the session regularly as the recovery process uses the last saved session.

In the unlikely event of a console software crash, an abnormal shutdown, hardware or power failure, D5T will recover the latest session automatically and it can be rebooted without losing audio.

If there is any problem with this process, holding the keyboard Shift Key during the reloading of D5T software will open the following panel:

IMPORTANT NOTE: The easiest method of doing this is to Quit To Windows and then reload D5T software from there. If you are holding the SHIFT Key when Windows is reloading, the D5T Surfaces program and D5T software itself will not load automati-

cally. If this situation occurs be sure to restart Surfaces.exe from the Windows Start menu before loading D5T software.

This allows the options of:

1) Rebooting the audio engine or worksurface.

2) Recovering the last session from NVRAM and last saved session file.

2) Loading from the last startup session file.

3) Not loading any file and creating a default stereo console.

4.3 Talkback

The console includes a built-in talkback microphone socket situated in the top right hand corner of the worksurface, and there is an input socket provided on the rear panel for a 2nd remote talkback microphone. There are two Talkback channels, A and B, and both can be activated by buttons on the worksurface in conjunction with three Talback Feed Presets, labelled a,b and c. Both channels are controlled by a level control on the worksurface.

4-12

Chapter 4

4.3.1 Talkback Configuration Button ..........................................

The two talkback channels can be mixed independently onto any buss using the Talkback Setup panel, which is displayed on the Master screen when the on-screen Talkback button is touched.

When you first touch the on-screen Talkback button, only the bottom section of the panel is displayed - push the Talkback Setup button to display the full mixer panel.

4.3.2 Talkback Mic Setup ..............................................................

Talkback channels A and B can be controlled separately, by touching the relevant button at the bottom left of the Talkback configuration panel.

Talkback channels A and B can be sourced from any input signal, the Local (Top) mic, the Rear Mic, Tone or Noise using the buttons at the top of the Channel.

Both channels could be sourced from the same mic but each one could route to different output destinations. Each channel has a high-pass filter, a compressor with variable threshold, and a control for the Dim level which is applied to the monitor

signal when the Talk switch is pushed. These can all be adjusted by touching them on-screen, then using the fader below the display. Below these controls are buttons which configure the talkback switch. The switches can be latching or momentary, and you can also

choose to disable either channel altogether. The worksurface Talkback buttons A, B, and C may be used to activate either Talkback Channel by pressing the required combination of

the On With buttons.

4-13

Chapter 4

4.3.3 The Talkback Mixer ..............................................................

Each output buss has its own level control in the Talkback mixer, along with a switch for connecting each Talkback channel to the buss at the chosen level.

The level controls can be adjusted using the faders below the screen, with each row of busses assigned to the physical faders by touching one of the rows of faders in the display.

4.3.4 Talkback Presets ..................................................................

You can set up three different Talkback Presets, which specify routing configurations for the talkback channels by storing the settings of the talkback feed switches for each output buss (though they do not store the mic signal levels sent to each buss).

Once you have one or more stored presets, they are recalled automatically when the corresponding worksurface Talk button is pressed (a, b or c) which also activates channels A and/or B if they are enabled. You can also switch between them without activating talkback by touching the buttons at the bottom of the Talkback panel. You can name each routing preset by touching the white label above its button and typing a name on the keyboard.

Changing Talkback Presets

Any changes you make to the talkback mic routing while a preset is selected is automatically stored as part of that preset.

4.4 Control Groups

4.4.1 Creating Control Groups .....................................................

To set up Control Groups:

1) Touch the Control Groups button on the Master screen.

2) Touch the Touch Faders To Join/Leave button on the required Control Group (1-24).

3) Touch the faders on the channels that you want to include. (Touching the fader a`gain will remove it from the group).

4) Touch the Touch Faders To Join/Leave button again to turn the function off.

5) Press the on screen Mode button to select Moving faders, VCA style static faders or Mutes only.

6) Press the Auto-Mute button if required to select this mode for the Control Group.

With Auto-Mute on, any Control Group member which is removed from the group will be automatically muted and any member that joins a group will be automatically unmuted.

7) Use the worksurface fader, mute and solo to adjust settings for the Control Group members.

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Chapter 4

A list of all the connected channels and their names is displayed above each Control Group display, touch the area above the Clear button to expand this list.

4.4.2 Naming Control Groups ......................................................

Like inputs or busses, Control Groups can be named by touching the name display on the screen (default CG1, CG2 etc), and typing a new name on the console keyboard.

4.4.3 Mode Option .........................................................................

Successive presses of the Mode button above the control group’s label allows the control group to function in one of three different ways: Moving - The default mode where the input channel faders move to reflect any adjustment made with the Control Group fader. VCA - The Control Group fader controls the level of an input channel without moving the channel’s fader. Mutes - Only Input Channel Mutes are affected by the Control Group, not faders.

4.4.4 Auto-Mute Option .................................................................

With Auto-Mute on, any Control Group member which is removed from the group will be automatically muted and any member that joins a group will be automatically unmuted.

4-15

Chapter 4

LCD

4.5 Master LCD Function Buttons

Pressing the Master LCD Function button on the left hand side of the Master Section allows you to select the function that the individual Master LCD Buttons are currently assigned to.

To Show Functions

Press the Master LCD Function button.

FUNCTION

LCD

FUNCTION

G01 [0]

Grp 01

G02 [0]

Grp 02

AFL AFL AFL AFL AFL AFL AFL AFL

SOLO SAFE

G03 [0]

Grp 03

ASSIGN FADERS

G04 [0]

Grp 04

UNASSIGN

FADERS

G05 [0]

Grp 05

SOLO

1OR2

G06 [0]

Grp 06

BUILD

BANK

G07 [0]

Grp 07

SOLO

ASSIGNS

AUX>ROT

G08 [0]

Grp 08

ASSIGNS

AUX>FAD

SOLO

To Make Masters Safe From All Cues The Safe function makes selected SubGroup, Aux and Control Group Master Faders safe from all Cues.

1) Press the Master LCD Function button for the relevant bank.

2) Press the Safe button.

3) Press the Master LCD buttons for the Masters that should be Safe (they will turn red and a tick will appear).

4) Press the Master LCD Function button to exit Safe mode.

5) Press the Solo function button to return to the standard view.

FUNCTION

LCD

FUNCTION

G01 [0]

Grp 01

G02 [0]

Grp 02

AFL AFL AFL AFL AFL AF L AFL AFL

SOLO SAFE

G03 [0]

Grp 03

ASSIGN FADERS

G04 [0]

Grp 04

UNASSIGN

FADERS

G05 [0]

Grp 05

SOLO

1OR2

G06 [0]

Grp 06

BUILD

BANK

G07 [0]

Grp 07

SOLO

ASSIGNS

AUX>ROT

G08 [0]

Grp 08

ASSIGNS

AUX>FAD

SOLO

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

G01 [0]

Grp 01

SAFE

G02 [0]

Grp 02

SAFE

G03 [0]

Grp 03

SAFE

G04 [0]

Grp 04

SAFE

G05 [0]

Grp 05

SAFE

G06 [0]

Grp 06

SAFE

G07 [0]

Grp 07

SAFE

SOLO SAFE

ASSIGN FADERS

UNASSIGN

FADERS

SOLO

1OR2

BUILD

BANK

SOLO

ASSIGNS

AUX>ROT

G01 [0]

Grp 01

G02 [0]

Grp 02

AFL A FL AFL AFL AFL AFL AFL AFL

G03 [0]

Grp 03

G04 [0]

Grp 04

G05 [0]

Grp 05

G06 [0]

Grp 06

G07 [0]

Grp 07

G08 [0]

Grp 08

SAFE

SOLO

ASSIGNS

AUX>FAD

G08 [0]

Grp 08

4-16

Chapter 4

Auxiliary sends can be controlled by the console's channel faders or rotaries in several different ways. There are Assign Sends To Faders and Assign Sends To Rotaries buttons in the Auxiliary Buss Control panel (See Section 3.2.2 -

Buss Control Button) which activate these functions but for faster access there are options to activate them by a Solo Press on the Auxiliary Masters.

To switch these functions on or off:

Solo Assigns Aux To Faders

1) Press the Master LCD Function button.

2) Press the Solo Assigns Aux > Fad button (a tick will appear in the box).

3) Press the Solo function button to return to the standard view.

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

G01 [0]

Grp 01

G02 [0]

Grp 02

AFL AFL AFL AFL AFL AFL AF L A FL

SOLO SAFE

G03 [0]

Grp 03

ASSIGN FADERS

G04 [0]

Grp 04

UNASSIGN

FADERS

UNASSIGN

FADERS

G05 [0]

Grp 05

SOLO

1OR2

SOLO

1OR2

G06 [0]

Grp 06

BUILD

BANK

BUIL D

BANK

G07 [0]

Grp 07

SOLO

ASSIGNS

AUX>ROT

SOLO

ASSIGNS

AUX>ROT

G08 [0]

Grp 08

ASSIGNS

AUX>FAD

ASSIGNS

AUX>FAD

SOLO

LCD

FUNCTION

G01 [0]

Grp 01

G02 [0]

Grp 02

AFL A FL AFL AFL AFL AFL AFL AFL

G03 [0]

Grp 03

G04 [0]

Grp 04

G05 [0]

Grp 05

G06 [0]

Grp 06

G07 [0]

Grp 07

G08 [0]

Grp 08

Solo Assigns Aux To Rotaries

When this function is activated and an Auxiliary Master Solo button is pressed, the Input Channel screen will automatically scroll to the relevant auxiliary and allow instant control of the send.

1) Press the Master LCD Function button.

2) Press the Solo Assigns Aux > Rot button (a tick will appear in the box).

3) Press the Solo function button to return to the standard view.

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

G01 [0]

Grp 01

G02 [0]

Grp 02

AFL AFL AFL AFL AFL AFL AF L A FL

SOLO SAFE

G03 [0]

Grp 03

ASSIGN FADERS

G04 [0]

Grp 04

UNASSIGN

FADERS

G05 [0]

Grp 05

SOLO

1OR2

G06 [0]

Grp 06

BUILD

BANK

G07 [0]

Grp 07

SOLO

ASSIGNS

AUX>ROT

G08 [0]

Grp 08

ASSIGNS

AUX>FAD

SOLO SAFE

ASSIGN FADERS

UNASSIGN

FADERS

SOLO

1OR2

BUIL D

BANK

SOLO

ASSIGNS

AUX>ROT

ASSIGNS

AUX>FAD

SOLO

LCD

FUNCTION

G01 [0]

Grp 01

G02 [0]

Grp 02

AFL AFL AFL AFL AFL AFL AFL AFL

G03 [0]

Grp 03

G04 [0]

Grp 04

G05 [0]

Grp 05

G06 [0]

Grp 06

G07 [0]

Grp 07

G08 [0]

Grp 08

4-17

Chapter 4

The contents of a Master Fader Bank can be customised at any time by adding or removing faders from it.

To Assign Faders To Banks

1) Press the Master LCD Function button for the relevant bank.

2) Press the Assign Faders button.

3) Press the Master LCD button for the Master fader that you wish to use.

4) Touch the on screen meter for the Buss that you wish to Assign or touch an Input Channel screen or Control Group display. If

several LCD Assign buttons are pressed, they will be filled from left to right starting with the channel that is touched.

5) Press the Master LCD Function button to exit Assign Faders mode.

6) Press the Solo function button to return to the standard view.

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

G01 [0]

Grp 01

G02 [0]

Grp 02

AFL A FL AFL AFL AFL AFL AFL AFL

SOLO SAFE

G03 [0]

Grp 03

ASSIGN FADERS

G04 [0]

Grp 04

UNASSIGN

FADERS

G05 [0]

Grp 05

SOLO

1OR2

G06 [0]

Grp 06

BUILD

BANK

G07 [0]

Grp 07

SOLO

ASSIGNS

AUX>ROT

G08 [0]

Grp 08

ASSIGNS

AUX>FAD

G01 [0]

Grp 01

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN

G02 [0]

Grp 02

G03 [0]

Grp 03

G04 [0]

Grp 04

ASSIG N ASSIG N

G05 [0]

Grp 05

G06 [0]

Grp 06

G07 [0]

Grp 07

G08 [0]

Grp 08

TOUCH

SCREEN

to assign

G02 [0]

Grp 02

ASSIG N ASSIG N ASSIG N AS SIGN ASSIGN A SSIGN AS SIGN

G03 [0]

Grp 03

G04 [0]

Grp 04

ASSIGN ASSIG N

G05 [0]

Grp 05

G06 [0]

Grp 06

G07 [0]

Grp 07

G08 [0]

Grp 08

SOLO

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

G09 [0]

G02 [0]

Grp 09

ASSIGN

SOLO SAF E

Grp 02

ASSIGN ASSI GN ASSIGN ASSIG N ASSIGN ASSI G N ASSIGN

G03 [0]

Grp 03

ASSIGN FADERS

G04 [0]

Grp 04

ASSIGN ASSIGN

UNASSIGN

FADERS

G05 [0]

Grp 05

SOLO

1OR2

G06 [0]

Grp 06

BUIL D

BANK

G07 [0]

Grp 07

SOLO

ASSIGNS

AUX>ROT

G09 [0]

Grp 09

G02 [0]

Grp 02

AFL AFL AFL AFL AFL AFL A FL A FL

G03 [0]

Grp 03

G04 [0]

Grp 04

G05 [0]

Grp 05

G06 [0]

Grp 06

G07 [0]

Grp 07

G08 [0]

Grp 08

SOLO

ASSIGNS

AUX>FAD

G08 [0]

Grp 08

4-18

To Unassign Faders From Banks

1) Press the Master LCD Function button for the relevant bank.

2) Press the Unassign Faders button.

3) Press the Master LCD buttons for the fader(s) that you wish to Unassign.

4) Press the Master LCD Function button to exit Unassign Faders mode.

5) Press the Solo function button to return to the standard view.

Chapter 4

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

G01 [0]

Grp 01

G02 [0]

Grp 02

AFL AFL AFL AFL AFL AFL AF L A FL

SOLO SAFE

G03 [0]

Grp 03

ASSIGN FADERS

G04 [0]

Grp 04

UNASSIGN

FADERS

G05 [0]

Grp 05

SOLO

1OR2

G06 [0]

Grp 06

BUILD

BANK

G07 [0]

Grp 07

SOLO

ASSIGNS

AUX>ROT

G08 [0]

Grp 08

SOLO

ASSIGNS

AUX>FAD

G01 [0]

Grp 01

UNASSIGN UNASSIGN UNASSIGN UNASSIGN UNASSIGN UNASSIGN UNASSIGN UNASSIGN

G02 [0]

Grp 02

G03 [0]

Grp 03

G04 [0]

Grp 04

G05 [0]

Grp 05

ASSIGN ASSIG N

G06 [0]

Grp 06

G07 [0]

Grp 07

G08 [0]

Grp 08

G02 [0]

Grp 02

UNASSIGN UNASSIGN UNASSIGN UNASSIGN UNASSIGN UNASSIGN UNASSIGN

SOLO SAFE

G03 [0]

Grp 03

ASSIGN FADERS

G04 [0]

G05 [0]

Grp 04

ASSIGN ASSIGN

UNASSIGN

FADERS

Grp 05

SOLO

1OR2

G06 [0]

Grp 06

BUILD BANK

G07 [0]

Grp 07

SOLO

ASSIGNS

AUX>ROT

G08 [0]

Grp 08

SOLO

ASSIGNS

AUX>FAD

LCD

FUNCTION

G02 [0]

Grp 02

G03 [0]

Grp 03

AFL AFL AFL AFL AFL AFL AFL

G04 [0]

Grp 04

G05 [0]

Grp 05

G06 [0]

Grp 06

G07 [0]

Grp 07

G08 [0]

Grp 08

4-19

Chapter 4

Master Fader Banks can also be built from scratch in the following way: To Build A Bank

1) Press the Master Fader Bank button for the bank that you wish to build.

2) Press the Master LCD Function button for the relevant bank.

3) Press the Build Bank button.

4) Touch the on screen row, press a Bank button or touch an input screen for the Bank that you wish to Build. If a bank button is touched,

the entire bank is copied to the current Master bank including the Bank Label. If a screen is touched then eight input or output channels or Control Groups will be assigned from left to right starting with the channel that you touched. On the master screen, output and Control Group rows wrap to the next row down.

5) Press the Master LCD Function button to exit Build Bank mode.

6) Press the Solo function button to return to the standard view.

master fader bank

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

LCD

FUNCTION

G01 [0]

Grp 01

G02 [0]

Grp 02

SOLO

SOLO SAFE

SOLO

G03 [0]

Grp 03

SOLO

ASSIGN FADERS

G04 [0]

Grp 04

SOLO

UNASSIGN

FADERS

G05 [0]

Grp 05

SOLO

1OR2

G06 [0]

Grp 06

SOLO

BUILD

BANK

G07 [0]

Grp 07

SOLO

ASSIGNS

AUX>ROT

G08 [0]

Grp 08

SOLO

ASSIGNS

AUX>FAD

PRESS A BANK BUTTON OR TOUCH SCREEN TO CREATE BANK

ASSIGN ASSIG N

G01 [0]

Grp 01

G02 [0]

Grp 02

AFL AFL AFL AFL AFL AFL A FL AFL

G03 [0]

Grp 03

G04 [0]

Grp 04

ASSIGN ASSIG N

G05 [0]

Grp 05

G06 [0]

Grp 06

G07 [0]

Grp 07

G08 [0]

Grp 08

SOLO

4-20

LCD

FUNCTION

G01 [0]

Grp 01

G02 [0]

Grp 02

AFL AFL AFL AFL AF L AFL AFL AFL

G03 [0]

Grp 03

G04 [0]

Grp 04

G05 [0]

Grp 05

G06 [0]

Grp 06

G07 [0]

Grp 07

G08 [0]

Grp 08

Chapter 4

4.7 Transport / Timecode Configuration

When the D5T is used in typical live sound applications there will be no time related control systems (timecode) or motion control (tape transport) connected. Synchronisation and machine control does not need to be considered.

This panel can be accessed by touching the Setup button on the Master screen and then touching the Transport & Timecode button.

Frame Rate

This must be set up for the frame rate used by your other equipment. You can select from four different basic frame rates, with a dropframe option available for 29.97 and 30 fps.

Timecode Source

You can choose the Console option to make the console generate the master timecode for the setup, or you can choose to make the console "chase" timecode which arrives at one of the external sockets - SMPTE (LTC), MIDI (MTC), or 9-pin. These external sockets are located on the console rear panel.

The 9-pin Eavesdrop option requires a special 9-pin cable (See technical manual for details). The option is provided for installations where the 9-pin connection runs between two other pieces of equipment (for example, a video machine and DAW), but the console is required to chase this timecode. 9-pin does not normally allow more than a single direct connection between two machines, but using the Eavesdrop cable, you can make the console "listen" to the timecode passing between two other machines, and to sync to and display this timecode on the worksurface.

Note that if you are using 9-pin Eavesdrop mode, you cannot use any of the options for direct 9-pin connection.

Timecode Output Enable

Whether the console is operating as timecode master or deriving its timecode from another device, you can choose to route a timecode signal out from the MIDI (MTC) and/or SMPTE (LTC) sockets. If timecode is being received from another device it is regenerated before being routed to the output.

Machine Control Enable

The console can only send Control signals if you have enabled a Machine Control output. This can be MIDI Machine Control (MMC) and/ or 9-pin Disk or Tape. Note that you cannot output 9-pin control if you are using the Eavesdrop option to read timecode.

MIDI Machine Control has limited transport features, supporting only the Play, Record, FF, Rewind, Stop and Locate functions. 9-pin control supports Shuttle and Jog functions.

Off-line Buttons

The configuration panel allows you to temporarily disable all timecode and transport control to any combination of outputs. The ALL button disables all timecode and machine control output - this is especially useful to prevent external machines trying to chase the console timecode.

Video Sync Lock Indicator

By connecting a video or black/burst signal to the video frame sync input on the worksurface rear panel, you can provide an external frame sync for the timecode. If the console is acting as timecode master or regenerating timecode, the frame boundaries in the timecode are then locked to those on the incoming video signal. If the lock is operating, the green indicator on the panel lights up to indicate this.

4-21

Chapter 4

4.8 Audio Synchronisation

NOTE: If you are running an Optocore system, the console can only currently sync to Optocore at 48KHz therefore Optocore must be selected as the sync source. If you are only using MADI connections, Master must be selected as the Audio Sync source.

When the D5T is used with only analogue signals connected to both inputs and outputs synchronisation does not need to be considered.

The mixer will operate in a self contained manner, operated as master sync source, usually at 48KHz, see below for setting this. This will be the case even if some of the external equipment is in fact digital eg. digital delays, as long as their connections are analogue. From a system point of view this is the simplest mode of operation.

However as the D5T offers digital audio interfacing and therefore synchronisation must be considered, if this is to be used. To ensure glitch-free audio, digital signals must be correctly synchronised using a "Word Clock" or "Digital Sync". The D5T console can

act as Master, generating the word clock for other digital units in the system, or it can slave to an external digital sync input. External sync can be derived either from a dedicated sync unit, or from an incoming digital audio signal connected via an AES/EBU or MADI signal input.

The digital sync source will usually be set up when the console is installed, but it can be altered using the Audio Sync button in the Setup

Menu. Pressing this button displays the Audio Sample Clock Sync control panel:

4.8.1 Internal Sync - Console As Master .....................................

If you choose to use the console as the master sync source, you can select a standard sample rate with the 44.1KHz or 48KHz buttons and the adjust it if necessary in steps of +/- 0.1% or +/- 100Hz and 1Hz.

4.8.2 External Sync .......................................................................

WARNING! Operators should be aware that it is normal for a misclocked or unclocked digital audio system to produce loud, random noises. This can be damaging to external systems, especially large PA systems. Take care to disable such systems until the digital sync has been properly established and proved to be stable.

When you choose to sync to an external source, the control panel will immediately try to find the sync source you specify, and display a warning if no sync can be found, as shown in the illustration below.

The presence of a valid sync source is indicated by the green OK lights, not by the button. If the selected sync source should disappear, this panel will automatically be displayed with the warning message.

4-22

Chapter 4

4.8.3 External Sync Sources ........................................................

Word Clock and AES/EBU

The worksurface rear panel has connectors for Word Clock and AES/EBU inputs, either of which can be used as the master sync source by pressing the appropriate on-screen button - note that the AES/EBU worksurface input is for sync only, and cannot be used for audio.

Video Sync

Also located on the worksurface rear panel is the Video Sync input. Although this carries only a frame boundary signal, the console can generate a full digital word-clock from it. This means that when you choose to sync to the video signal, you have to choose the sample rate you want to generate between frame boundaries, in just the same way as when the console is providing the master sync.

Sync to Audio Signal

Any of the console's digital audio inputs can be selected as sync source. If you choose the Audio Signal option in the Sync control panel, you can then choose any input signal group and number, in just the same way as the audio component of the signal is selected as the source for a console input channel. When you have selected a signal group, the panel displays a green "OK " light to indicate when a signal in that group carries a valid sync source.

Please note the Digico's experience shows by far the most trouble free master sync source will be an AES/EBU signal (from the AES sync input or audio input). Word clock is second best and video is the more difficult source to implement.

4.8.4 Sample Rate and Conversion .............................................

The default sample rate for the console is set up at installation, and it is this sample rate which will be used when the console is operating as the master digital sync source. If the console is synchronised with an external digital audio unit, the sample rate used by the external unit becomes the master sample rate for the system.

Sample Rate Convertors

The AES/EBU Rack Modules are equipped with input Sample Rate Convertors (SRC). By default these are switched on at all times. These allow the console to synchronise incoming digital signals of differing sample-rates, to avoid the glitching which occurs when signals

with different sample-rates are mixed. SRC also allows the same sample rate but different clock phase to be connected without problems (such as systems locked to external

video sources).

SRC is also provided on the AES/EBU outputs. By default the outputs are locked to the console rate, however other rates can be preset to specific outputs, for example to allow a 44.1KHz output to a CDR from a console running 48KHz.

Switching of both the input and output SRC is not adjustable from the mixer screens but is configured in the socket setup file of the control computer, as this requires careful consideration of clocking issues within the system as a whole. For most users the default setup will work for the majority of applications.

4-23

Chapter 5

The Cue List

5-1

Chapter 5

5-2

Chapter 5

5.1 Cue List

Any number of Cues containing the entire current console settings can be stored and recalled using the Cue List panel. (This is only limited by system memory)

These Cues can be absolute or relative to another cue. The scope of the cue can be set by controller type or by input channel. To display the Cue List panel, touch the Cue List button at the top of the Master Screen. Worksurface controls can be found to the right of the Master Screen and Previous / Next buttons in the bottom right corner of the Master

section.

Opens cue scope panel

Opens cue timing panel

Undo previous firing

(if enabled)

Puts cue under control

of sequence duration

in timing panel

Puts cue firing under control

of dynamic automation

Puts cue firing under

control of incoming MIDI

data on channel 16

Sends cue firing da ta

to MIDI out

Enable Cue Recall by touching the list bu ttons

Enable Cue Group Update

Enable Live Update Mode

Inserts a copy of the assigned (Green ) cue

Makes assigned (Green) cue relative

Updates current (Highlighted) relative cue's master

Replaces current (Highlighted) cue

Replaces cue chosen after pressing button

Allows e diting o f multiple cues after selection

Allows changing of order of cue list

Press and select cue to rename

Opens Renumber Cues Panel

Press and select cue(s)to delete

Note: The current cue appears in the panel as the highlighted (pressed) button. The cue name displayed in green indicates that it is the assigned to the worksurface and its name is indicated in the display. The Fire button recalls this assigned cue and highlights it in the screen list as the current cue.

If the current cue button shows an asterisk next to the number (eg. 001*) this indicates that a controller has changed since the cue was fired.

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5.1.1 Normal, Master and Relative Cues .....................................

There are three types of Cue:

1) NORMAL CUE - this appears in black on the list and is always followed by another NORMAL CUE or MASTER CUE.

2) MASTER CUE - this appears in black on the list and is always followed by a RELATIVE CUE.

3) RELATIVE CUE - this appears in red on the list and it's entry is indented. It is always relative to the MASTER CUE above it.

Normal Cue

Master Cue

Relative Cue

A Normal or Master cue (black entry in the list) is an absolute snapshot of the current state of all the console controls. A Relative cue (red entry in the list) is a snapshot of the current state of all the console controls but the variable dB controls such as the

fader levels, gains and auxiliary sends are stored as offsets from the previous Master cue in the list. Therefore, if the level of a dB control is changed in the Master cue the same control will change by the same amount in all of its relatives.

If non-dB controls such as EQ frequency, pan and Q are changed in a Master cue, only relatives that have the same settings will change with it and then to exactly the same value as the Master Cue.

Commonly, a Master cue would be used as a starting point at the beginning of a performance and would contain all the basic routing and levels. The subsequent cues would be Relative and would contain the changes that were required for each different part of the performance. If used in this way, any global changes that are made to the Master cue will automatically update the relatives without the necessity for changing each cue individually.

There may also be several groups of Master and Relative cues that relate to different parts of the performance. Eg. One group per scene or per song.

A Master Cue and its associated Relatives are known as a Cue Group and the members of these groups can be updated in isolation from all other cues using the Live Update function in combination with the Update Group button.(See Section 5.2).

5.1.2 Storing a Cue ........................................................................

The first cue must always be a Normal or Master cue and a new session will always contain one default cue. This default cue will be a flat console state with all faders down and all channels muted. To store a new cue, touch the Cue List panel's Insert button and a new cue will be inserted below the currently assigned (green) cue and

you will be prompted to name it. Initially this cue will be a copy of the cue above it but can be edited or replaced immediately (See Replac- ing a Cue).

Alternatively, touch an unused button in the list and a new cue will be added to the end of the list. This cue will initially be a copy of the last cue on the list.

To store a Relative cue, you must first create a second Normal cue and this can then be changed to Relative by assigning the cue to the worksurface using the Scroll Up/Down buttons (it will then be in green text) and pressing the Relative button. The details of the cue should then be shown in red and indented.

Once the Relative button is pressed, all subsequent cues will also be Relative until you choose to change them. All cues with the exception of the first cue may be made Relatives or Masters at any time.

5.1.3 Recalling a Cue ....................................................................

To recall a cue, simply touch the cue button you require and this cue will then remain highlighted until the next cue is recalled - This function can be switched on or off using the button labelled Touch To Fire.

Alternatively, the buttons on the Worksurface on the right of the screen provide Scroll Up/Down buttons to change the assigned cue named in the worksurface display and listed on screen in green.

You can also use the dedicated Fire Next and Fire Previous buttons on the console worksurface which are situated above and below the Lower Master Bank buttons.

The following keyboard keys can also be used to navigate through the cue list. Home, end, up, down, page up, page down. Alpha keys move the assigned cue to the one whose name starts with letter pressed. The Fire button then recalls the assigned cue. The Undo button is only enabled if the Enable Undo option button is pressed on the screen. The x fade button has a LED which indicates whether the assigned snapshot has cross-fading enabled, and may be used to switch off

this feature temporarily while recalling the cue. Cue firing can also be controlled by specific events on MIDI channel 16 (See Cues and MIDI).

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5.1.4 Replacing a Cue ...................................................................

To update or change a cue, set the console controls as required and then touch the Replace button followed by the cue that you wish to amend. A dialogue box will appear asking you to confirm the action.

There is also a button with an option to Replace Current cue and this can be used to replace the last cue that was fired.

Note: The Current cue is not necessarily the one whose name appears on the worksurface, this is the Assigned cue. For a cue to be Current it must have been the last one that was fired and be highlighted in the on screen panel's list.

5.1.5 Update Master ......................................................................

The Update Master button can be pressed at any time when the current (highlighted) button is Relative. This will copy the current console settings into the Relative Cue's Master but subtract the relative values from it first.

Therefore if you are working in a Relative Cue and realise that the changes you are making need to be applied to the other Relatives as well you can immediately press Update Master even though the Master is not the current cue.

NOTE: Only variable dB controls can be updated in this way. If a non-dB control eg Pan is changed in a Relative Cue and Update Master is pressed only related relatives with the same

setting will be changed. If a switch setting is changed in a Relative Cue and Update Master is pressed, the new switch setting will not be written to the

Master Cue. To update switches in multiple cues, the Edit Cue function should be used.

5.1.6 Editing Multiple Cues ..........................................................

Individual controller changes can be written to several cues simultaneously using the Edit button. This does not replace the complete cue associated with the button.

When the Edit button is pressed, a panel pops up allowing All, a Range, or individual cues to be selected by pressing their buttons. If you press the Select Range button, touching the first and last cues in a range will automatically select all the cues in that range.

With the Edit button pressed, pressing the cue buttons does not fire the cues, it only selects them for editing. The selection may be changed by pressing and releasing cue buttons at any time during the operation of the Edit command, so a variety of

controllers or routes may be changed in a variety of cues before completing the operation by pressing the Keep button. The Cue List window may even be closed to gain access to other editable functions - In this case, a warning message will appear to

advise the user that they are still in cue edit mode. While any cue button is selected, changes to any snapshottable controller, routing changes, and any changes to the Cue Scope controls

can be written to every selected cue, overwriting the previous settings. Pressing the Keep button confirms the changes. For example, if cues 1 and 2 are selected and the input gain for channel 1 is changed, subsequent recall of cues 1 or 2 will set channel 1’s

input gain to the new value. Only channels which are altered while the Edit command is active will be affected and only in cues that are selected at the time. If Cancel is pressed instead of Keep, all cues changed since the Edit button was pressed are returned to their original states, irrespective

of which are currently selected. This allows any accidental changes to be undone. If there is not enough memory to store a copy of every edited cue, a warning is displayed and the Cancel button is disabled.

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A change in any of the following settings can be copied to all selected cues in edit mode: Snapshottable controllers Routing Relay outputs Selection of MIDI Patches Crossfade times Control Group members Gang members All Channels and Exclude buttons in Channel Scope NOTE: Banks (Layout) settings are excluded from the Edit operation, since it is likely that scrolling, etc. may be needed to access

channels which need to be changed without wanting to change the stored layout. Changing Banks can only be done with the Replace command on one cue at a time. If you recall the cue before changing the layout, all

other settings stored in the cue will remain unchanged. Touching faders to add or remove channels to or from the scope is also copied to all cues selected for Editing, but note that the choice

between add or remove depends on the currently displayed list.

5.1.7 Moving a Cue ........................................................................

If you wish the cue list to appear in a specific order, you may change the order of the list by moving the entries. Touch the Move button and then touch the cue that you wish to move. You then touch the point in the list where the cue should be moved to.

Note: If a Relative cue is moved above its own Master cue in the list it will become Relative to the previous Master cue, but only when it is fired. Therefore the list can be rearranged in any way without changing the data in the cues.

5.1.8 Renaming a Cue ...................................................................

To rename a cue, touch the Rename button, then the name that you wish to change and enter a new name using the keyboard.

5.1.9 Renumbering Cues ..............................................................

As cues can be inserted at any point in the list you may find that you wish to renumber part or all of the list. Press the Renumber button at the bottom of the cues panel and a new panel will open as seen below. Enter the range that you wish to

renumber using the up/down arrows or by touching the entry and typing and then enter the steps to renumber to (1.00 in the example below). Then press the Renumber button and the list will be adjusted accordingly.

5.1.10 Deleting a Cue ....................................................................

To delete a cue, touch the Delete button and then the cue or range of cues that you wish to delete. You will then be required to confirm the deletion.

Note: You cannot delete the first Cue in the list.

5.1.11 Cue Undo ............................................................................

If the button labelled Enable Undo is pressed, an undo button will appear and the worksurface undo button will be enabled. When a cue is fired, a separate hidden cue of the complete console is stored before the fired cue has its effect. If the Undo button is pressed, the hidden cue is fired using the same scope as the previously fired cue to undo its effect. This sampling before firing can take up to two frames to store depending on console configuration and should therefore be switched off in

situations where timing is important (eg when synchronising cues to MIDI) The Undo remains possible throughout any subsequent operation - changes to controllers will be undone along with the last fired cue if the

Undo button is pressed, unless it is switched off or the console structure changes.

Note: For the fastest possible reponse when a cue is fired, disable the Undo function.

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5.1.12 The Cue Scope Editor ........................................................

Chapter 5

Pressing the Scope button expands the panel to display and edit the scope for one cue, indicated by a light band linking the cue list to the scope. The scroll buttons in the centre of the panel move the scope editing up and down the cue list.

If the Preview button is pressed the scope for the next cue in the list is displayed.

5.1.13 Channel Scope ...................................................................

The input channels which are included in each cue can be set by pressing the Touch Faders To Select button and touching the required faders which will be added to the list (touching a fader again will remove it from the list).

Press the All Channels button if the cue is to be global. If the Exclude button at the bottom left of the panel is pressed then the cue will apply to all the channels which are not on the list. Note: If both All Channels and Exclude are highlighted, the cue will have no effect on any input channels. Channel scope is not applied when recalling Banks (layouts).

5.1.14 Controller Scope ................................................................

Controllers

The first eight Controller scope buttons relate to input channels only.

Input - digital trim, delay, label, input balance, ms decode, left right swap. EXCLUDES Stereo switch. EQ - all controllers. Dynamics - all controllers except stereo link. Aux Sends - aux send level, on/off, pan, pre/post. Panning - panner, divergence, sub level. Mute - channel mute switch. Fader - channel fader. Bussing - buss routing buttons. Effects - all FX controllers. EXCLUDES FX configuration (Presets). Groups - Matrix Groups - all controllers including EQ, Dynamics and label. Auxes - Aux buss outputs - all controllers and label. Subs - Sub Group buss outputs - all controllers and label. Main - Master buss outputs - all controllers and label.

Routing

Input - Channel and Matrix input routing, label, analogue gain and 48v switch. Inserts - Input channel send and return routes, send gain, -10dB, pre/post switch and insert in/out. If Buss Controllers are included in the scope this also includes buss inserts. Directs - Input channel send route, send gain, -10dB and pre/post switch. Groups I/O - Matrix Groups output and direct routing and -10dB switch. Out - If Buss Controllers are included in the scope this includes the relevant buss output routing and -10dB switch.

Misc

CG Members - Control Group label and a complete list of each group’s members. CG Faders - Control Group faders only. Gangs - Input channel gang members. Banks - Each cue stores the current assignment for all controllers on the worksurface:

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Fader banks currently assigned to input surfaces but not the names of these banks. Which channel on each surface is assigned to EQ/Dynamics/Joystick controls. Which rows of pans or auxes are assigned to rotaries. The Master Fader Banks assignment.

Note: Banks are not intended to reproduce the exact screen states. Channel views and other panels’ visibilities are not stored or recalled.

MIDI - Fires the MIDI Patch associated with the cue. Relays - The sixteen red indicators below the Relay scope button represent the state of the relays which will be output when the cue is

fired (not the current state). It is stored at the time the cue is recorded and can be edited by clicking on individual indicators with the trackball.

Restrictions

Important Note: The following features are not included in cues: The input channel stereo switch. Dynamics stereo link. Talkback. Channel Bank names. Choice of Solo 1 or Solo 2.

5.1.15 Cue Timing .........................................................................

To automatically sequence the firing of cues:

1) Select the cue using the up/down arrows in the centre of the panel.

2) Press the Fire Next After button on the left hand side and enter a time in the boxes next to this button.

3) Activate the function by firing the cue or pressing the Step Time button.

When this cue is fired, the next cue in the list will automatically be fired after the set time has elapsed and a red progress bar will show the time remaining until the cue is fired. Pressing the Step Time button while the progress bar is moving wil halt the process.

Each cue may also trigger Play From, Play To and Locate To timecode commands. Select the required cue and enter a timecode value in the relevant box. Then activate the function by pressing the required button(s).

Play From does a Locate then presses Transport Play if not already playing. Play To presses Transport Play if not already playing, and sets up an automatic Transport Stop when the Play To time is reached.

If Play To and Locate To are specified together in one cue, when the PlayTo time is reached, a Locate will be generated after the Transport Stop.

If Locate To is specified on its own, it simply does the Locate. Any manual transport control cancels any pending Stops or Locates.

Crossfades

A crossfade time which is measured in frames can be applied to a cue by adjusting the Crossfade Time in the Timing panel. Either use the Up/Down arrows or type a value into the box. The x fade light on the worksurface will be illuminated when the currently assigned cue has crossfading enabled. The button next to it may be pressed to temporarily disable crossfading while recalling this cue but it does not change the crossfade time itself.

The Crossfade time is applied to faders, matrix sends and pans only (including sub level and divergence). A value of zero switches it off.

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5.1.16 Cues and MIDI ....................................................................

There are two separate areas of MIDI control.

1) A cue can have a MIDI Patch attached to it, and will output that MIDI when fired. The MIDI Patch must be created separately in the

Setup Menu / MIDI Patches panel or in the Cue editor software. Switching the MIDI scope on pops up a panel prompting for a MIDI

Patch button to be pressed, which will then be linked to the cue whose scope is currently displayed.

2) The firing of cues can be controlled by incoming MIDI messages on channel 16, and can cause these same messages to be output in

addition to any MIDI Patches included in (1) above. The MIDI Input Control button allows the cue system to respond to the following incoming MIDI messages:General Purpose Controller A (Controller 16); Values 0 to 127 will fire cues 1 to 128 General Purpose Controller B (Controller 17); Values 0 to 127 will fire cues 129 to 256 General Purpose Controller C (Controller 18); Values 0 to 127 will fire cues 257 to 385. General Purpose Controller D (Controller 19); Values 0 to 125 will fire cues 385 to 510. General Purpose Controller D (Controller 19); Value 126 will fire the previous cue in list. General Purpose Controller D (Controller 19); Value 127 will fire the next cue in list. MIDI Output causes the above messages 1 to 510 to be sent whenever a cue button is pressed. Previous and Next buttons do not output

MIDI messages of their own.

5.1.17 MIDI Patches .......................................................................

The console's main MIDI port is known as MIDI port T. If your D5T is fitted with the combination MIDI/GPI/GPO card it can also have 2 more MIDI ports A & B (Each card provides 16 extra MIDI channels - A1 to A16 on the first card and B1 to B16 on the second card.)

The port letter may be prefixed on any line of the MIDI Patches Editor before the MIDI channel number (separated by spaces). If the port letter is omitted, Port T is assumed.Touching the MIDI Patch button in the Setup menu opens the MIDI Patches panel which allows any MIDI program change, controller change, note on or off message to be recorded and played back manually or against timecode.

This panel works in a very similar way to the main cue system and an indicator on the MIDI panel shows when any MIDI data is being received.

When the Capture button is pressed a text panel is displayed and any incoming MIDI controller or program change information is recorded. There is also a list of required syntax for entering the text manually.

The captured text may be edited or new text entered into an existing patch by touching the Edit button and typing. This text is then compiled into the required stream of MIDI data when OK is pressed. Errors are reported at this stage.

The MIDI Patches can be made Safe from Cue recall globally by pressing the SAFE button on the panel - this button is duplicated in the Scope section of the Cue List itself.

The correct format for the messages is as follows:

(See the Cue Editor section of this manual for an alternative method of entering this information.) Note On

The MIDI Port Number (Port T is assumed if there is no entry here) A 2 digit MIDI Channel number between 01 and 16 N+ to indicate Note On A note number between 0 and 127 A velocity value between 0 and 127 eg. A 01 N+ 60 127

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Chapter 5

Note Off

The MIDI Port Number (Port T is assumed if there is no entry here) A 2 digit MIDI Channel number between 01 and 16 N- to indicate Note Off A note number between 0 and 127 A velocity off value between 0 and 127 eg. A 01 N- 60 127

Program Change

The MIDI Port Number (Port T is assumed if there is no entry here) A 2 digit MIDI Channel number between 01 and 16 P to indicate Program Change A program number between 0 and 127 eg. A 01 P 127

Control Change

The MIDI Port Number (Port T is assumed if there is no entry here) A 2 digit MIDI Channel number between 01 and 16 C to indicate Control Change A controller number between 0 and 127 An equals sign (Optional) A controller value between 0 and 127 eg. A 01 C 11 = 64 The words Program and Controller may be used or just their initial letters (case-insensitive). The equals sign is optional. Comments are not stored although anything on a line after a semicolon is ignored. The first message in the editor is used as the patch

name on the button label but this may be edited. When not capturing, editing, renaming or deleting, the patch buttons will output the stored MIDI data when pressed.

MIDI Sequence Files

MIDI sequence files can be played out of ports A and B. They must be .MID files in format 0 (one track only) and are quoted in the MIDI Patches Editor as

eg. A file test.mid

A path can precede the filename, otherwise the current session folder is assumed. Only short filenames with a maximum of 8 characters and no punctuation are accepted.

This file is then downloaded to the card and starts playing when the MIDI Patch is fired. The Sequence File Start and Play buttons on the MIDI Patch panel then become effective. Press Stop to pause, then Play to restart from the same place or re-fire the MIDI Patch to play again from the beginning of the file. This remains possible until the file is played to the end or another Patch is fired with another sequence file for the same port. Other MIDI messages may be sent to the same port without affecting the sequence playback

MIDI Patches are stored in session files. The New Session panel has a Clear option for MIDI which deletes all MIDI Patches leaving an empty list.

5.2 Live Update

When the Live Update button is pressed, changes to console settings may be rippled through to all cues. Such changes include controllers and routing, but exclude editing the channel name since this is one method which is used to identify which cues to update.

Pressing any input module's ALL button will display the word OPTION on all of the input screens and according to specific rules this will also affect the way that Live Update changes are implemented.

5.2.1 Live Update Rules ................................................................

Exactly which Cues are updated with Live Update switched on depends on a number of different variables. These variables cannot be considered in isolation as they may all affect the functionality of Live Update. The following list is a summary of these variables:

1) Alias matching

An input channel's settings in a given Cue will only be updated if the channel's name is the same as it is in the current cue. If the channel's name is changed from one cue to another then Live Update will only make changes to channel settings in cues where the

channel has the same name. NOTE: This rule also applies if the channel's name is blank in a number of different cues. A blank name in a channel is considered to be a

match for other instances of a blank name in the same channel.

Examples

If a channel has a microphone as an input source but this microphone is shared by different actors during the course of a show, it is likely that this channels settings will be different from one cue to another.

Therefore, with Live Update on, an adjustment made to a channel in a cue where the channel name is "Harry" will also be made to all other cues where the same channel is also called "Harry" but not in cues where the channel is called "Fred".

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DiGiCo D5T User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

D5T Contents

1.1 The Console

1.2 Hardware Configuration

1.3 Getting Started

To create a new session, touch the Session Files button on the master screen and then touch the New Session button. The following panel will appear:

In this state, any gain adjustments made on the console will have no effect as the racks will not be receiving any data. The console’s MASTER Audio Outputs Active button will normally be highlighted in orange to show that it is the master responsible for

If you have a system where more than one console is sharing the racks you may wish to use the Receive Only mode where the console will receive the rack’s existing settings but will not be able to control the gain on the racks.

If the Stereo is pressed, the input channel functions will control two input signals, the one which has been selected and the next one in the rack.

These are multi-function buttons and by pressing the Channel LCD Function button on the left hand side you can select which function they are currently assigned to.

SOLO

The 32x32 way matrix is accessed by touching the Matrix Inputs button on the master screen or the Matrix button on the far right of the worksurface master section.

Matrix Send

This button which is found above the Save As New File button will save the existing session in the same location and under the same file name as it was previously saved or loaded from. It therefore serves as a "Quick Save" option to update an existing session.

If you wish to save the session under a new name use the Session Files menu button and select Save As New File (See above).

The third row of buttons in the input section can be assigned to any of the dynamics on/off switches. Hold the Assign Switch button on the left of the input section and touch the dynamics section on the screen. The selected control is shown by the Status Display.

Screen Scroll

1) Touch the Control Groups button on the Master screen.

2.1 The Input Channels

When you want to access an input channel which is not currently visible on a worksurface channel, press the relevant Fader Bank button on the console worksurface.

Assignable Switch Assignable Rotary

2.2 Expanding a Processing Module

Channel Label

Signal Group

"Misc" Signal Group

MS Decode

Input Balance

Swap (Reverse) Left and Right Signals

amplifier which sets the incoming signal level before conversion to digital. The Phase switch allows +/- phase settings. On mono or stereo channels you can use the Delay control to delay the input signal by up to 240ms. On a mono channel, pressing the Set

Hipass / Lopass Filters

Compressor

Gate

Dynamics Presets

Dynamics Linking

Press the Stereo Link switch on the right hand side of the Dynamics panel. Both sides of the pair are switched simultaneously.

Surround Panning

Direct Outputs

This button controls the routing for the input channel insert send and return selection. Touching the word Insert displays a panel which allows you to select Send and Return sockets in the same way as you would select an

Input socket or a Direct output. There is also a Send Gain control providing a trim of +/-18dB.

There is also an option to assign a channel by either touching its fader or pressing its solo button. To activate either of these functions: Press the Channel LCD Function button on the left of the input section and then press the Fader Assigns Channel and/or Solo

To activate this function: Press the Channel LCD Function button on the left of the input section and then press the Only Display Name button. When the

SOLO SAFE

2) Press the Aux Send > Faders button.

2.3 Ganging

2) Press the Build Gangs button.

2.4 Layout

There is also an output for an Overview screen and this can be customised to show different combinations of the console's controls using the functions in the Layout menu. It is recommended to use a 1280 x 1024 resolution for greatest flexibility. The monitor should be Plug N Play compatible.

This panel allows you to select which banks appear on the screen and whether they are Large or Small format. The default view shows Channel Banks and Master Banks in small format.

1) Touch the Clear Assignment button.

Touching the Move Channels button in the Layout menu opens the Move Input Channels panel which allows a single channel or a range of channels to be moved.

Move Intervening means move the source range to the destination position and shuffle all channels between the source and the destination (including all channels in the destination range) to fill the gap left by the source range.

Swap Channels swaps the source and destination ranges leaving intervening channels alone. Move and Swap have the same effect if the source and destination ranges overlap.

Scope

3.1 Busses and Outputs

Scrolling the Master Screen

3.2 Output and Buss Controls

Group Buss Control

Connect All routes all input channels to the buss.

Auxiliary Buss Control

Touching the Mute button on the screen or the worksurface cuts the output signal from the relevant buss.

The Meters display the signal level, and indicate a peak level.

unit. Then touch the Output Insert button to switch it on.

3.3 The Matrix

The 32x32 way matrix is accessed by touching the Matrix Inputs button on the master screen or the Matrix button on the far right of the worksurface master section.

4.1 Master Section

Master Screen Status Display

System Menu

System Options

For total security the Unattended mode locks the console completely and all operations are disabled. This state can only be changed by typing a password - the standard password is D5.

4.2 Configuring the Console

New Project

Rename

The Monitoring panel can be found under the Setup Menu in the Master Screen and some of the controls can be accessed on the right hand side of the Master worksurface.

Monitor Delay

Monitor Master

Monitor Mute

Solo Clear