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Xynergi Media Production Centre
User Manual
16 February 2010
Software Version 2.6
Issue 001
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Important Notice
The material in this document is copyright to Fairlight.AU Pty Ltd, and may not be quoted or reproduced
in any form without written permission from the company.
Fairlight is a trademark of Fairlight.AU Pty Ltd. All other trademarks are the property of their respective
owners.
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Table of Contents
INTRODUCTION ............................................................................................................ 11
Congratulations..................................................................................................................11
Organising the Screens .......................................................................................................11
What Else You Need to Know...............................................................................................12
Anything Missing?...............................................................................................................13
THE XYNERGI SYSTEM................................................................................................ 14
XYNERGI TACTILE CONTROLLER ............................................................................. 15
Monitor Section ..................................................................................................................15
Fixed Keys ......................................................................................................................... 17
Picture Keys.......................................................................................................................22
The Pad.............................................................................................................................24
Soft Keys ...........................................................................................................................25
THE XPLAIN SYSTEM................................................................................................... 26
What is Xplain?...................................................................................................................26
Xplain-Button .....................................................................................................................26
Xplain-How-To....................................................................................................................26
How Much does Xplain Cover? .............................................................................................26
Recommendation................................................................................................................26
HOW TO … .................................................................................................................... 27
Basics................................................................................................................................27
Recording ..........................................................................................................................43
Patching Signal Paths..........................................................................................................51
Reverse Patching................................................................................................................56
Monitors ............................................................................................................................57
Setup.................................................................................................................................61
Files ..................................................................................................................................72
Mixing................................................................................................................................75
Automation........................................................................................................................83
Automation Curves .............................................................................................................91
Editing...............................................................................................................................95
THE NUMPAD.............................................................................................................. 102
Parameter Entry ...............................................................................................................102
Loc and Set......................................................................................................................102
Fader Sets........................................................................................................................103
Meter Sets .......................................................................................................................104
Go To..............................................................................................................................104
Jump by Seconds..............................................................................................................108
Review.............................................................................................................................109
Play Jog...........................................................................................................................110
EDITING.......................................................................................................................112
Introduction.....................................................................................................................112
The Cursor.......................................................................................................................112
Cut and Paste...................................................................................................................113
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Copy................................................................................................................................118
Erase...............................................................................................................................118
Edit Soft Key Commands...................................................................................................118
Paste Special....................................................................................................................119
Trim................................................................................................................................120
Slip..................................................................................................................................121
Nudge .............................................................................................................................122
Fade and Crossfade ..........................................................................................................123
Editing on Multiple Layers..................................................................................................131
The Track Menu ...............................................................................................................131
Xynergi’s Quick Edit Layout................................................................................................133
Importing Clips from Other Projects ...................................................................................135
Clip Level.........................................................................................................................136
Gating Clips......................................................................................................................137
Replacing Audio Media......................................................................................................138
Undo and Redo.................................................................................................................139
Mouse-Based Editing.........................................................................................................140
Fade Menu.......................................................................................................................144
AUTOMATION ............................................................................................................. 145
Introduction.....................................................................................................................145
Automation Basics ............................................................................................................145
How to Use Automation.....................................................................................................146
Enabling Mix Items ...........................................................................................................148
Mix Item Status................................................................................................................149
Programmed Automation...................................................................................................152
Saving and Loading Mixes .................................................................................................153
Mix Undo .........................................................................................................................154
'System Mix' - Save function..............................................................................................155
AutoSave.........................................................................................................................155
The Mix Menu...................................................................................................................155
The Utils Menu.................................................................................................................156
Mix Editing.......................................................................................................................157
Data Storage....................................................................................................................157
Mix "Thinning"..................................................................................................................157
On-Screen Mix Controls.....................................................................................................158
Automation Curves ...........................................................................................................159
TIME DOMAIN PROCESSING..................................................................................... 163
Introduction.....................................................................................................................163
Time Compression/Expansion............................................................................................163
Using VocAlign Processing.................................................................................................164
Removing Clicks ...............................................................................................................165
TRACKS & TRANSPORT............................................................................................ 166
Introduction.....................................................................................................................166
Displaying Tracks..............................................................................................................166
Pyxis Track – Displaying Video...........................................................................................167
Track Colours...................................................................................................................167
The Clip...........................................................................................................................169
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Selecting Tracks ...............................................................................................................172
Time Scale and Display Zooming........................................................................................173
Audio Scrollers..................................................................................................................176
Transport Controls............................................................................................................178
Jog Commands.................................................................................................................178
Shuttle.............................................................................................................................178
CLIP EQUALISATION ................................................................................................. 180
Introduction.....................................................................................................................180
EQ display........................................................................................................................180
SCREEN MIX CONTROLS .......................................................................................... 184
The Mixer Screen..............................................................................................................184
Mouse Control in the Mixer Screen.....................................................................................186
Fat Channel......................................................................................................................187
Virtual Channel.................................................................................................................189
Input Section....................................................................................................................190
Direct Send and Insert ......................................................................................................190
Panning ...........................................................................................................................191
Equalisation......................................................................................................................192
Dynamics.........................................................................................................................193
Aux Sends........................................................................................................................195
Zoom Panels ....................................................................................................................195
On-Screen Automation Controls .........................................................................................201
METERS....................................................................................................................... 202
Introduction.....................................................................................................................202
Fat Channel Bus Meters.....................................................................................................202
Master Screen Meters........................................................................................................202
Meter Sets .......................................................................................................................205
Peaks ..............................................................................................................................206
Meter Point ......................................................................................................................207
MACROS...................................................................................................................... 208
What is a Macro?..............................................................................................................208
Displaying Macros.............................................................................................................208
Recording Macros.............................................................................................................209
Macro Names...................................................................................................................210
Macro Colour Groups.........................................................................................................210
Editing Macros..................................................................................................................211
GROUPING .................................................................................................................. 212
Introduction.....................................................................................................................212
Summary of Groups..........................................................................................................212
Link Groups......................................................................................................................212
Fader Groups ...................................................................................................................217
Naming a Group...............................................................................................................220
Multi Trim ........................................................................................................................220
USING XE-6 FADERS.................................................................................................. 222
Introduction.....................................................................................................................222
Basic Operation................................................................................................................222
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The OLED Display.............................................................................................................223
Fader Sets........................................................................................................................224
Call button.......................................................................................................................224
Auto button......................................................................................................................224
PanPot Function ...............................................................................................................224
Fader Function .................................................................................................................225
USING THE FAIRLIGHT FADER SIDECAR............................................................... 226
Introduction.....................................................................................................................226
Fader Controls..................................................................................................................226
Using Groups....................................................................................................................228
Faders To......................................................................................................................... 228
Fader Sets........................................................................................................................230
AUDIOBASE ................................................................................................................ 232
Introduction.....................................................................................................................232
Creating and Maintaining Databases...................................................................................232
Searching for Sounds........................................................................................................232
Placing Sounds In A Project...............................................................................................232
ADR.............................................................................................................................. 234
Introduction.....................................................................................................................234
The ADR List....................................................................................................................234
ADR Preferences...............................................................................................................236
The ADR Display...............................................................................................................237
AUTO CONFORM WITH EDL TOOL........................................................................... 240
Introduction.....................................................................................................................240
Loading an EDL................................................................................................................240
Capture and Conform........................................................................................................240
Reconform.......................................................................................................................242
Additional Facilities ...........................................................................................................243
PROJECT AND FILE MANAGEMENT........................................................................244
Introduction.....................................................................................................................244
Project Formats................................................................................................................244
MT Projects......................................................................................................................245
DR2 Projects ....................................................................................................................247
Waveform Profiles.............................................................................................................249
Revealing the Project File..................................................................................................250
Backup Files.....................................................................................................................250
Automatic File Saving........................................................................................................250
Undo Files........................................................................................................................251
Video Files .......................................................................................................................252
Typical Xynergi Drive Configuration....................................................................................252
Designating Media Device..................................................................................................252
Creating New Projects.......................................................................................................253
Backup Project to Folder....................................................................................................253
Media Scanning................................................................................................................254
Detailed Media Management ..............................................................................................254
PYXIS TRACK.............................................................................................................. 256
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Introduction.....................................................................................................................256
Creating a Pyxis Track.......................................................................................................256
Hiding and Showing the Video Track ..................................................................................257
Loading Video into Pyxis Track...........................................................................................258
Capturing Video into Pyxis Track........................................................................................261
The Pyxis Window.............................................................................................................263
Editing the Video Track.....................................................................................................266
Watermarking ..................................................................................................................268
Using Pyxis Track as a Machine..........................................................................................269
PLUG-INS AND REWIRE ............................................................................................270
Introduction.....................................................................................................................270
General Capabilities ..........................................................................................................270
VST and VSTi ...................................................................................................................270
Using VST Effects in Xynergi..............................................................................................271
Automation of Plug-ins......................................................................................................273
Controlling Plug-ins on Screen............................................................................................273
Controlling Plug-ins on the Surface.....................................................................................275
Plug-ins on Faders............................................................................................................275
Plug-ins in the Pad............................................................................................................277
Clip based Plug-ins............................................................................................................282
Using VST Instruments in Xynergi......................................................................................284
ReWire ............................................................................................................................284
Fairlight Partner Program ..................................................................................................287
HUI SLAVE MODE....................................................................................................... 289
Introduction.....................................................................................................................289
Setup...............................................................................................................................289
MIDI Devices....................................................................................................................289
Remap File.......................................................................................................................291
Advanced – using Scripted Macros .....................................................................................294
IMPORT / EXPORT...................................................................................................... 295
Introduction.....................................................................................................................295
Importing Files.................................................................................................................295
Importing Video Files........................................................................................................295
Importing an OMF ............................................................................................................295
Importing Individual Sound Files........................................................................................296
Sample Rate Conversion....................................................................................................296
Export .............................................................................................................................297
TIMECODE SETUP...................................................................................................... 301
Introduction.....................................................................................................................301
Synchronization Indicators.................................................................................................302
Synchronization Details .....................................................................................................302
MACHINE CONTROL .................................................................................................. 304
Introduction.....................................................................................................................304
Setting up Machines..........................................................................................................304
Machine Control Indicators................................................................................................309
LTC Generator..................................................................................................................309
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Putting Machines Online....................................................................................................310
Editing with Machine Control..............................................................................................311
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User Manual INTRODUCTION February 16, 2010
Xynergi Media Production Centre Page 11
Introduction
Congratulations
You’re reading the manual. This is a great way to learn Xynergi.
The early chapters are designed to ease you gently into the system. They are:
System Diagram – what does your system do?
The Xynergi Tactile Controller – names of its parts, and their functions, briefly
This section is a reduced version of the Xynergi Fold-Out, a large printed picture that is
included in the Xynergi package. It’s a good idea to keep it by you while you’re learning
the system. Once it gets too tattered to read, you probably don’t need it any more.
The Xplain Help system – how to consult it easily while using the system
How To … – steps through the operations you do most often
After that we have some more detailed guides to apects of the system.
Organising the Screens
Xynergi is commonly used with two screens, one displaying the Editing Screen, and the other for
the Mixer Screen.
The Editing Screen
The Editing Screen is shown full screen, expanding automatically to fit the display size of the
monitor. Note: Screen bit depth MUST be 24 bit.
The Mixer Screen
The Mixer Screen is normally shown full-screen on its own monitor. There are two sets of graphics
available, with resolution 1280 x 1024, and 1024 x 768. The bigger ones look best!
Note: Screen bit depth MUST be 24 bit.
It is possible to resize the Mixer Screen on the fly, as follows:
Step 1 Open the System Variables screen by typing ctrl+u
Step 2 Select the Window Frame On radio button.
The screen will immediately show a Title Bar.
Step 3 Close the System Variables window by clicking on its Close button, or typing esc.
Step 4 Using the mouse, click and drag one corner of the screen to change its size.
Step 5 You can also drag the screen to another monitor if desired.
Single Screen Operation
If you start Xynergi with only one monitor connected, the Editing and Mixer screens will both be
shown on that one monitor. According to your activity, they will come “forward” to take focus
when you perform certain activities.
To make sure that Mixing activities bring the Mixer screen forward, do the following:
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Step 1 Open the System Variables screen by typing ctrl+u
Step 2 Select the Auto Show Mixer button.
Step 3 Close the System Variables window by clicking on its Close button, or typing esc.
You can also force the Editing Screen forward by typing ctrl+Editor, and the Mixer screen by
typing ctrl+Mixer.
What Else You Need to Know
Installation
If you need to install or re-install the system, please read the manual:
Xynergi Media Production Centre Quickstart.pdf.
This manual is installed on your hard disk, usually in the folder C:\Program Files\Fairlight\Dream
II\Docs.
First Startup
Even if someone else has installed the system for you, there are some things you need to do the
first time you start the system. The Quickstart manual mentioned in the previous paragraph
includes a chapter on this subject, called Launching Xynergi for the First Time. Please read this
before using Xynergi, or at least have it standing by in case things get confusing.
Momentary and Latching
What??
Sorry, but this is one of the keys to speed in Xynergi. Many operations can be done two ways.
Momentary means: Hold down a key to open a mode, do one thing in that mode, then let go the
key to exit the mode and go back to where you were. This is skilful, because it requires two
hands, but it’s fast.
Latching means: Press a key to enter (latch) a mode, do some things in that mode, then press the
original key again to exit the mode. This is not as fast, but it’s easier, being one-handed.
When we refer to momentary operation, you’ll see words like
hold down and release.
When we refer to latched operation, you’ll see the word
press or type which both mean “press
and release”.
Some Important Terms
Throughout this manual we will use some terms that you need to understand.
Transport
This refers to the movement of the system along the timeline. For example, when we “put the
transport into Play” it means we cause forward movement along the timeline. This applies to the
disk audio tracks, Pyxis Track (if enabled), the timecode generator (if enabled), and any machines
that are being controlled by the system.
Transport commands include Play, Stop, Record, Jog, Rewind , Shuttle and FF.
The timeline is shown at the top of the Edit Screen.
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Play Head
The line in the center of the Edit Screen is called the Play Head or Cursor. This is the current point
where the system plays audio and video. It is also the point where most edits occur. The
timecode display shows the position of the Play Head.
Anything Missing?
There are many topics that are not covered here. They are covered in the Xplain system on-board
the Xynergi controller. In many cases that’s a much easier way to learn about them. For
information about Xplain see page 26.
If you find there’s some aspect of Xynergi that is not explained (or Xplained) adequately, please
let us know. You can email me: andrew@fairlightau.com
With new releases of software you’ll sometimes get a new version of this manual that adds more
information. You can also download the latest version from Fairlight’s website:
www.fairlightau.com
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The Xynergi System
1. I/O Configuration –
see page 27.
2. Patching connects
paths in the system –
see page 32.
3. Recording – see
page 30.
4. Editing – see page
72.
5. Processing – see
page 56.
6. Bus Assignment
assigns channels to
Buses – see page 48.
7. Mixing – see page
118.
8. Bus Format (mono,
stereo, 5.1 etc) – see
47.
Mix Automation – see
page 64.
9. Monitor Configuration
sets up speakers for
control room and studio
– see page 41.
1 2 3 5 6 7
9
4 8
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Xynergi Tactile Controller
Monitor Section
The rotary pots are used to adjust the Control Room and Studio monitor listening level.
The
Mute buttons cut the level to their respective monitors.
The
Dim button reduces the Control Room (CR) monitor level. To control how much the level is
dimmed:
Step 1 Stop the transport
Step 2 Hold down the
Dim button
Step 3 Turn the Jog Wheel. The level is shown in the Pad
Picture Keys
Lower Soft Keys
Upper Soft Keys
Fixed Keys
Monitor Section
Jog Wheel
Pad
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Step 4 Release the Dim button
Fixed Level Monitoring
Sometimes the monitoring environment must be set to a standard level, and not changed. This is
called Fixed Level monitoring.
The
Dim button is used to fix the CR monitor level. When fixed, it is unaffected by the rotary pot.
To turn on Fixed Level monitoring:
Step 1 Stop the transport
Step 2 Hold down the BLUE key
Step 3 Press the
Dim button
To set the level for Fixed monitoring, first set up an SPL meter at an appropriate position.
Step 1 Stop the transport
Step 2 Hold down the BLUE key
Step 2 Hold down the
Dim button
Step 3 Turn the Jog Wheel. The level changes, and is shown in the Pad. Adjust to match the
required SPL level.
Step 4 Release the
Dim button
Step 2 Release the BLUE key
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Fixed Keys
Fixed keys are “normal” switches with labels that do not change. Their functions change a little,
but not as much as the picture keys. LEDs show function and status.
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Numeric Keypad (Numpad)
The Numeric Keypad, also known as the Numpad, has many uses. Its function changes when you
press the keys surrounding it, like Loc, Set, Fader Sets and so on.
The following functions are available on the Numpad:
Function Press or Hold Button
Type Numbers None
Parameter Entry None
Choose Fader Set Fader Sets
Choose Number of tracks on Edit Screen BLUE
Go To a timecode, mark or clip name Go To
Jump by a number of seconds Jump Left \ Right or REW \ FF
Set Review time
Review
Choose Meter Set Meters (Setup Megamode)
Capture timecode into a Locator Set
Move to a Locator Loc
Set Loop Jog width Jog Play (hold down)
Macro execution Macro key (see Chapter “Macros” page
208).
These functions are described in detail in the Chapter “The Numpad”
Type Numbers
When naming channels, clips and other things, these keys type the large number written on them.
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Play Jog
Primarily used to enter Jog mode, but also toggles to Play mode if Jog mode is active. This is
designed to allow easy transport control without moving your right hand away from the Jog
Wheel.
BLUE +
Jog initiates Shuttle mode, where the speed of the transport depends on the Jog Wheel
position.
The Jog function has many other commands and variations. For details, please see Jog Play, page
110.
REW and FF
These keys are repeats of the keys found in the transport row of the Picture keys.
Both REW and FF can be repeated many times to increase speed.
Pressing
REW + FF issues a STOP command.
jog + REW jump left
jog + FF jump right
REW + 0 jump left one frame
FF + 0 jump right one frame
REW + 1 jump left one second
FF + 1 jump right one second
REW + 2 jump left two seconds
FF + 2 jump right two seconds
etc
Review
Jumps back by a few seconds, then starts playing. You can control the number of seconds that it
jumps back (hold down
Review and press a Numpad key).
Jump Keys
These keys are used to quickly move the transport forward or backwards on the timeline to Jump
Targets. These may be the next/previous clip head or tail (point), fade point and/or mark, or to a
specific clip name.
While the Jump key is held down, you may press a Numpad key (
1, 2 etc) to jump by that many
seconds.
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See more about Jumping on page 32.
From and To
These keys are used to define the start and end times of a Range.
A Range is a marked period of time in the project. Ranges are used for:
Editing – the range can be cut, copied, erased, nudged and more
Recording – a range can be automatically recorded
Mix Automation – a range can be filled with automation values, or isolated for a Write
pass
See more about Using Ranges on page 96.
Undo / Redo
Allow a large number of audio edits to be undone/redone.
When you issue an
Undo or Redo command the system will revert to the timecode location, zoom
setting and track selection at the time of the edit. You can prevent part of this by changing a
preference in the
Setup General Preferences dialog. This is found in the menus at the top of
the Edit Screen.
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Note: Undo applies only to audio editing, not mixing or automation moves.
Zoom
Hold down Zoom then turn the Jog wheel (or press the + and – buttons) to adjust the amount of
time being displayed horizontally across the Edit screen.
A specific Zoom value can be obtained by holding down
Zoom and pressing a Numpad key
combination, making a number between 1 and 20, the releasing
Zoom. The Zoom value is shown
at the bottom of the Edit Screen.
Zooming in and out can also be done using the
wheel on your mouse, when the Edit screen is in
focus (if not, click somewhere on it).
Simply pressing and releasing
Zoom toggles between your last two zoom settings.
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If ctrl and Zoom are both held down, the Jog wheel adjusts the number of tracks being displayed
in the Edit screen. Similarly, holding down
ctrl and turning the mouse wheel makes this
adjustment.
Picture Keys
Picture keys change their appearance and function according to what you are doing. Their
function is usually clear from the label, and they can also tally on/off states. Some picture keys
use animation to indicate warning states.
Layouts
A layout is a group of keys that are presented together. Some layouts include all the keys, and
some include only a few, or even one. Layouts can include picture keys and fixed keys.
Picture Keys by Colour
Different colours are used for different types of keys, as shown below.
Megamode Keys
Megamode keys are always green.
Megamodes are layouts that change the whole keyboard. They are used for different areas of
operation. Each megamode includes, where possible, all the functions you need to perform its
group of tasks. Sometimes the same function appears on more than one megamode, because it is
needed in both. In these cases the function always appears on the same button.
See more about megamodes on page 42.
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Modes
Mode keys are always teal in colour.
A mode is a specific group of functions. Each mode has a “soft menu” of commands that are
displayed on the Soft Keys. Other Picture keys may change when a mode is selected. For
example, the
cut mode causes display of the cut clip, cut head and cut tail keys at the left of
the Jog Wheel. Modes are also known as menus because of their soft keys e.g. cut menu or mix
menu.
To find out what a mode does, hold down the
Xplain button while pressing the mode button.
Toggles
A toggle chooses between a pair of options, usually On or Off. Some toggles are actually triggles
i.e. they choose amongst three options.
Toggles are always blue in colour.
Path Keys
Path keys are used to select or deselect signal paths. Their colour changes depending on the
mode being displayed, and the status of the path. For example, they show dark or light brown in
Mute mode, dark or light green in Solo mode, and red or dark blue in Arm mode.
Paths include Tracks, Lives and Buses (Main, Sub, Aux and MT).
Naming Paths
Path keys show the name of the path (note Track 5a in the illustration). You can set your own
name for paths using the Name Path function (see page 41).
By default, the path keys will show the names you have given, but you can also choose to show
the system name (Track 1, Live 1 etc), or a combination of system and user name. This is done in
the Setup Megamode, using the
style button (a triggle that cycles through the three naming
styles).
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Showing More Paths
The SEL key can be used to display 48 paths at the same time. It works in momentary mode
(hold-down) or latching mode (press and release).
Action Keys
Action keys cause an immediate result. They are always coloured orange.
The Pad
This displays all mixing information relating to the current path (the most-recently-selected path).
It also displays the labels for the soft keys (see below). The ALT keys work with the Pad to extend
its functionality.
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The Pad is the main input device for processing, mixing and automation. For information about
Pad mixing, see page 75. For information about automation using the Pad, see page 83.
Soft Keys
Soft keys display the “soft menu” options for the current mode.
The soft key label immediately above or below the soft key tells you what its current action will
be, or shows its current status.
To find out what any soft key will do at a particular time, hold down the
Xplain button while
pressing the soft key.
Upper Soft Keys
Lower Soft Keys
Soft Key Labels
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User Manual THE XPLAIN SYSTEM February 16, 2010
Xynergi Media Production Centre Page 26
The Xplain System
What is Xplain?
Xplain is Xynergi’s built-in Help system. It’s great to use, because you don’t need to clutter your
desktop with books like this one, and it gives you help about exactly where you are right now.
Xplain places text in the Pad text area. Sometimes this covers up the feature that it is Xplaining –
it usually apologises…
Xplain has two systems:
Xplain-Button
Xplain-Button hold down the Xplain button, and press any other button on the keyboard to
get a description of what it does. This includes picture keys, fixed keys and soft keys.
Xplain-How-To
Xplain-How-To step-by-step guides to many of the product's basic procedures. Press the
Xplain button to start. Now choose a main topic, and then one of its sub-topics. Read the
overview and press that button (which is flashing) again.
When you see a flashing button, read the text first, then press the button. Sometimes the text will
instruct you to press a button, without flashing it. Go ahead and press the button.
This symbol comes at the end of the topic Press
Xplain again to exit.
How-To’s don’t care where you are in the system. They will always guide you to the end result by
the shortest path. So if you can’t quite remember how to do something, and you’ve gone partway
through it, start the How-To, and it will guide you from that point onwards.
How Much does Xplain Cover?
Is Xplain absolutely complete? No, of course not. There are many functions which we have not
had time to include.
If you find a key, soft key, or whole routine that is missing, and you feel it should be included,
email me at andrew@fairlightau.com
Recommendation
If you are new to Fairlight systems, it’s highly recommended that you go through the Xplain-How-
To’s at least once. Fairlight’s user interface is quite different to most others, but after learning a
couple of routines, it becomes quite logical and intuitive – and extremely fast.
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Xynergi Media Production Centre Page 27
How To …
In this chapter we will step through a number of common uses for a Xynergi Media Production
Center.
Note: these sequences are available through the
Xplain system on the Xynergi Tactile
Controller. When you learn through Xplain, it highlights, in most cases, the next button that you
need to press. This makes it easier for you to remember where the keys are.
Note: most of these sequences require a project to be loaded. There is a demo project available
on your Xyerngi installation CD. Instructions for installing it are included in the Xynergi Installation
Manual, chapter 4, page 20. Instructions for loading it can be found in this manual on page 75. It
will be assumed in all these sequences that you have loaded a project.
Basics
Selecting Paths
Overview
Xynergi supports many "signal paths" including track feeds, live feeds and buses.
Feeds are the individual channels that are routed to the mix buses.
Track contains clips, i.e. edits of recorded audio. You can record directly into tracks.
Live audio entering the system from a physical input, in real time.
Bus mix destination. Includes Main, Sub-Buses, Auxes, MTs (multi track buses)
Each feed and each bus element plays one stream of audio. Editing and mixing operations are
performed on the selected path(s).
Get Ready
Press the Editor Megamode button.
Press the
Cut button.
How to Select
The top 12 picture keys show the names of 12 signal paths. Press one or more buttons to select
them.
Press the
Bank Up and Bank Down buttons to show another 12.
You can select many paths. Try the following shortcuts:
To select just one path, double-press its button.
To select a range of paths, hold one button down and double-press another.
The Current Path
The last path you press is special. It is called the “current path” and is shown in the Pad and the
Mixer Screen Fat Channel. All mixing operations are directed at this channel.
The Current Track
If the current path is a Track, its name is shown in Blue on the Edit screen. It is then called the
“current track” Some special editing commands are directed at it alone.
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Now we'll access a wider selection.
Using SEL
Press SEL to display up to 48 paths. The rules for selection are the same as with the 12-track
displays.
Use the
Tracks, Lives and Buses buttons to choose the type of signal path you would like to
select. If tracks are selected, use the
Bank Up and Bank Down buttons to show another 48.
Press
exit to leave.
This way of using SEL is called Latched.
There is another way to use SEL, called Momentary. In this mode, you press and hold
SEL, and
use its buttons while holding it down. Then you release , and it exits automatically.
Using Track
Hold down Track. While it’s held down you can do the following:
Turn the
Jog Wheel to move the whole track selection up and down.
Press the
+ or – button in the Numpad to move the track selection one place up or down.
Type a number (up to 3 digits) on the Numpad, then release
Track to select that track.
This is great for selecting tracks that are not currently visible on the picture keys or the
Edit Screen.
Using All Tracks
The All Tracks button will cause selection of every track in the project. If you press it a second
time i.e. when all tracks are already selected, it will return to the previous track selection.
MULTI
Overview
MULTI allows you to change mixing parameters on many paths at the same time.
When Multi is Off, the Pad controls only the most-recently-selected path.
Pressing
MULTI changes its display to MULTI REL (relative). All changes made with the Pad now
apply to all selected signal paths.
Changes made with rotary knobs are applied relatively i.e. values amongst the signal path s
remain different, but rise and fall together. But values “compress” when the reach upper or lower
limits. This is demonstrated in the sequence that follows.
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Changes made with switches are applied absolutely, even if values amongst the selected signal
paths are different at the start.
Get Ready
Press the Editor Megamode button.
Press the
path button.
Press the
Cut button.
Multi Operation
Press the Bank buttons until Track 1 is showing. Double-press Track 1 then select Track 2, so
they are the only paths selected. Throughout this How-To, watch the results in the Track 1 and
Track 2 tile displays in the Mixer screen.
Turn
MULTI off. Turn the Level and Pan knobs. Press the Mute button. The values of Track 2
change, but those of Track 1 are not affected.
To set up for Multi ON, set Track 2's
Level higher than Track 1, and its L/R pan further right
than Track 1. Also set its
Mute to the opposite of Track 1.
Multi Rel
Press MULTI. The word MULTI appears in Red in the Pad.
Multi Rel means “Relative”. Turn the
Level Control knob up and down in the Pad. The faders of
Tracks 1 and 2 both move relatively, maintaining their difference.
Press the
Mute button. Both tracks now have the same value, because switch functions are
absolute under MULTI.
Now drive the
L/R pan control so that both tracks are pushed hard against the left. Their values
compress and are now the same. This will remain the case while Multi stays ON.
Take care with Multi. It's very powerful, but also quite dangerous! It’s a good idea to switch it off
as soon as you’ve finished using it.
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Track Display
Overview
Xynergi can display any number of tracks from 1 to 192 (or the number in the project if less than
192, or if your system is licensed for fewer than 192 tracks). There are several ways of choosing
which tracks you want to display.
It is also possible to Zoom the timeline over a wide range, showing from 8 hours down to a few
samples.
Get Ready
Press the Editor Megamode button.
Press the
Clip Level button.
Number of Tracks
To display a specified number of tracks on the Edit Screen, hold down the BLUE key and press
one of the Numpad keys with a label like
2T, 48T etc. The number indicates how many tracks will
be displayed. This time, press BLUE+
4T.
Now use the
track buttons on your Xynergi controller to select a track that is not currently
shown on the screen. The display group changes to include the newly selected track, keeping the
number of tracks the same.
User Tracks Display
To display any set of tracks you like, use the U keys, like this:
Hold down BLUE and also hold down the
U1 button (Numpad 3)
Keep holding down BLUE and
U1. Press the Clear soft key and then select a few tracks. They are
displayed on the screen. Release when you have finished reading this item.
You can set up track sets (called User Track Displays) on keys
U1, U2 and U3. They will be
remembered between sessions. While a user track display is current, pressing track buttons has
no effect on the display.
Edit Set
The edit set button is on the Editor Megamode.
It controls a way of automatically controlling which tracks are shown on the screen. When Edit Set
is on, the screen displays all the selected tracks. If you select or de-select a track, the screen will
change too.
When Edit Set is off, the screen displays the number of tracks you selected with the BLUE key.
Ctrl-Zoom
One more way to change the displayed tracks is to hold down ctrl and Zoom, and turn the Jog
Wheel. This increases or reduces the number of tracks, centering the selection on the mostrecently selected track.
Zooming
The Zoom button is used to control the scale of the timeline on the Edit Screen. The system offers
a number of Zoom Scales which control the amount of time shown on the screen.
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Hold down Zoom and turn the Jog Wheel (or press + or –) to change Zoom Scale. Hold down ctrl
as well, and now turning the Jog Wheel zooms the vertical scale (i.e. number of tracks).
You can select a particular Zoom Scale by holding down
Zoom and pressing a Numpad key.
Press and release
Zoom to swap between the current and last-used Zoom Scales. This can be used
effectively by setting an "editing" scale and a "travelling" scale, and toggling between them.
Transport Commands
Overview
At the bottom of the keyboard you'll find a row of "normal" transport buttons that behave as you
would expect.
"Special" commands:
REW and FF go faster and faster if you keep pressing them
Hold down
Record to display special commands on the soft keys.
Get Ready
Press the Record Megamode button.
Above the Jog Wheel
Above the Jog Wheel is a complete set of transport commands, designed to let you keep your
hand in one position for editing.
Play Jog First press is Jog. If already in Jog, pressing this key puts the transport into Play.
Review Jumps back a number of seconds, then plays. Hold down the Review key to select the
number of seconds on the Numpad.
REW+FF Stop
BLUE+
Jog Shuttle
Jog+REW Jump Left
Jog+FF Jump Right
Jog+0 Toggles linear and loop jog
Jog+00 Sets loop jog at half a frame
Jog+1 Sets loop jog at 1 frame
Jog+2 Sets loop jog at 2 frames (etc)
In Record Megamode only, hold down
Jog to display a Record button on the next key. Press both
to go into Record.
The Play Menu
Play Menu displays special play commands on adjacent buttons, and on the Soft keys.
Play Head Plays from one second before clip head (on current track)
Play Tail Plays from one second before clip tail (on current track)
Play Fade Plays from one second before clip fade out (on current track)
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Play Again Plays from the same point as last time.
Note:
Play Again appears on the same key, so you can just press Play Menu twice for Play Again
Pressing the
Play key while the Play Menu is active causes Play-with-Preroll from the current
position. In other words, the transport backs up by the Preroll amount, then goes int o Play.
Alternative Transport Set
For users more accustomed to earlier Fairlight products, an alternative tran sport layout can be
chosen. To do this, press the
play jog button on the Setup Megamode.
When play jog is toggled on, the keys are coloured violet, and work as shown below:
Jumping
Overview
The Jump keys locate the transport instantly to your choice of Jump Targets, such as clip heads
and tails, fades and marks.
To set the current Jump Target, hold down either Jump Key and use the
soft keys to choose one
or more targets.
To jump by a
number of seconds, hold down either Jump Key and use the Numeric Keypad to
select the length of jump from one to nine seconds.
0 jumps 10 seconds. 00 jumps 1 frame.
Get Ready
Select one of the following megamode buttons for illustration of the Jump keys:
Record Megamode, Editor Megamode or Mixer Megamode.
The Jump Menu
While you hold down a Jump Key, the soft keys offer the following Jump Targets. Select one (or
two) and release to jump there. Next time you use a Jump key it will use the same target (unless
you change it)
-
Variable (jumps by the number of frames shown next to the word Variable) To set the Variable
parameter, press its soft key and type in a number on the
Numeric keypad, or use the Jog Wheel.
Release the Jump Key when ready to accept the value.
-
Point (Head, Tail or Sync Point of a clip, on any selected track)
-
Point or Fade (Head, Tail, Fade Point or Sync Point of a clip)
-
Mark (stored timecode location in the Project)
Note:
Mark can be selected with Point, or with Point or Fade
Jump overrides
The following key combinations extend the Jump functionality
T
his is always a play key
T
his key toggles between Jog and Stop
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ctrl+Jump jump to next or previous Mark (stored timecode location in the Project)
Shift+Jump jump to next or previous Point (Head, Tail or Sync Point of a clip, on any selected
track)
ctrl+Shift+Jump jump to the beginning or end of the Project
Range+Jump jump to the Head or Tail of the Range (a Range must exist for this to work)
Jump+1 jump by one second
Jump+2 jump by two seconds (and so on up to 9 seconds)
Jump+0 jump by ten seconds
Jump+00 jump by one frame
Jump+Clear jump to the previous frame edge (unless already on one)
Locators
Overview
Xynergi provides three non-permanent Locators to use freely in editing or mixing. They are
designed to use quickly, and are not saved with the Project (Marks are saved, see Using Marks.)
Locators are stored using the
Set key next to the Numeric Keypad, and recalled using the Loc key
above it.
Get Ready
Make sure the Go To menu is not active.
Storing Locators
To store a location, press the Set button, then press 1, 2 or 3. While Set is active you can store
other locations.
You can also use
Set in momentary style. Hold it down, press a number, then release it. The
system will exit Set mode.
Going to a Location
To locate to a stored location, press the Loc button, then press 1, 2 or 3.
You can also use
Loc in momentary style. Hold it down, press a number, then release it. The
system will exit Loc mode.
You can leave the
Loc button latched if you wish to use locators a lot. They can be interrupted
temporarily by pressing
Fadersets, Go To, BLUE or the Set button. But if you wish to use the
Numeric Keypad for typing numbers, you must turn
Loc off.
Using Marks
Overview
Xynergi allows you to create up to 100 timecode Marks, which are stored in the Project file.
To create a mark, press the Mark button at any time. This will put a Mark at the current timecode
position.
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Marks can be edited and named. They can also be used in Jump and Go To commands as target
locations.
This guide will show you how to edit marks, and how to use them for locating.
Get Ready
Press the green Editor Megamode button.
Press the
FF button. While the transport moves, press the Mark button a few times. Press Stop.
You have made some Marks.
Go to Mark
Press the Go To button to display the Go To menu.
In the Go To menu, press the
mark soft key. The list of marks appears over the Edit screen.
To select a Mark, use the
Jog Wheel, the + and – buttons, click with the mouse, or type the index
number on the Numpad. Press
Enter to locate there, or click the Jump To button if you want to
keep the dialog open.
Jump to Mark
Hold down one of the Jump keys.
Press the
Mark soft key if it's not already on. Just for now, turn the others off. Marks are now
your Jump Target.
Release the
Jump button to locate to the next (or previous) mark in the project. Press the Jump
button a few more times to keep moving through the marks
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Edit Marks
Press the green Setup Megamode button and press the edit marks button. Alternatively, stay in
the Edit Megamode, hold down the BLUE key and press the
Mark button.
A list of marks is shown in a dialog over the Edit Screen.
To select a Mark, use the
Jog Wheel, the + and – buttons, click with the mouse, or type the index
number on the Numpad. Press
Enter to locate there, or click the Jump To button if you want to
keep the dialog open.
To change the timecode stored in the mark, press the
Set Time soft key, or click the Set Time
screen button and type in a timecode, then press
Enter.
To rename the mark, press the
Rename soft key, or click the Rename screen button and type in a
name, then press
Enter.
To change the mark index, click the
Set Index screen button and type in a Index number, then
press
Enter.
Other buttons/soft keys allow you to jump to the currently selected mark, or remove it from the
list.
Solo and Mute
Xynergi has a number of ways to solo and mute. Briefly, here they are:
Xynergi Surface
Press the Solo button in the Editor or Mixer Megamode to toggle solo on the current path.
Hold down the
Solo button in the Editor or Mixer Megamode for a couple of seconds to display
the Solo Menu with 48 signal paths that you can select after releasing Solo.
Press
ctrl+Solo button in the Editor or Mixer Megamode to toggle the whole selection of soloed
signal paths on and off. The
All Solo button does the same thing.
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Press the Mute button in the Editor or Mixer Megamode to toggle mute on the current path.
Hold down the
Mute button in the Editor or Mixer Megamode for a couple of seconds to display
the Mute Menu with 48 signal paths that you can select after releasing Mute.
Press
ctrl+Mute button in the Editor or Mixer Megamode to toggle the whole selection of muted
signal paths on and off.
After pressing
SEL, you can select Solo or Mute to display the Solo Menu and Mute Menu
mentioned above.
Editor Screen
Click a Solo button in the Editor Screen to toggle solo on any track.
Click a
Mute button in the Editor Screen to toggle mute on any track.
Click a
Solo button and drag up or down to solo lots of tracks.
Click a
Mute button and drag up or down to mute lots of tracks.
Mixer Screen
Click a Solo button in the Mixer Screen to toggle solo on any track.
Click a
Mute button in the Mixer Screen to toggle mute on any track.
Solo Safe
When a channel is soloed, it works by muting all the other (unsoled) channels. Sometimes you
want to prevent this e.g. when channels returning reverb or other signals that affect the sound of
the current channel.
Solo ON / OFF
Mute ON / OFF
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Solo safe means “cannot be muted by soloing another channel”. Channels can be prevented from
being soloed in three ways.
Using the Edit Safe Menu
Step 1 Press the Edit Safe button in the Editor Megamode.
Step 2 Select channels to make them safe.
Using the Virtual Channel
Using the Pad
Step 1 Press the Path button in the Editor or Mixer Megamode
Step 2 Press it a second time to engage the PadLock menu.
Step 3 Press the
Solo Safe soft key.
Using the Fader
Each fader strip includes a Solo button that affects the channel being controlled by the fader.
Solo – Mute Swap
Constellation XCS allows you to swap all your mutes for soloes, or vice versa. This is very usef ul in
a complicated edit session, when you want to isolate a particular set of sounds. You can solo
them to make sure you’re hearing the right thing, then mute them to make sure the sound is not
somewhere else as well.
To move channels from Solo to Mute:
Step 1 Engage the Solo menu by either holding down the
Solo button, or pressing the SEL
button and then the
Solo Menu button
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Step 2 Select some channels to be soloed.
Step 3 Hold down the
Solo Menu button. Two new buttons appear beside it.
Step 4 Press the
Swap Mute button. The Mute Menu appears, and the channels that were soloed
are now muted. These channels are the ONLY channels muted – if there were other
channels muted before, they no longer are.
To move channels from Mute to Solo:
Step 1 Engage the Mute menu by either holding down the
Mute button, or pressing the SEL
button and then the
Mute Menu button
Step 2 Select some channels to be muted.
Step 3 Hold down the
Mute Menu button. Two new buttons appear beside it.
Step 4 Press the
Swap Solo button. The Solo Menu appears, and the channels that were muted
are now soloed. These channels are the ONLY channels soloed – if there were other
channels soloed before, they no longer are.
Solo and Mute to SEL
Constellation XCS allows you to transfer your solo or mute selection into an edit or mix selection.
This is useful when you have used solo and mute to isolate a set of channels th at need work, and
you now want to make some changes to them.
To make your Soloed channels also be the selected channels:
Step 1 Engage the Solo menu by either holding down the
Solo button, or pressing the SEL
button and then the
Solo Menu button
Step 2 Select some channels to be soloed.
Step 3 Hold down the Solo Menu button. Two new buttons appear beside it.
Step 4 Press the
to SEL button. The SEL layout appears, and the channels that were soloed are
now also selected. These channels are the ONLY channels selected – if there were other
channels selected before, they no longer are.
To make your Muted channels also be the selected channels:
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Step 1 Engage the Mute menu by either holding down the Mute button, or pressing the SEL
button and then the
Mute Menu button
Step 2 Select some channels to be muted.
Step 3 Hold down the
Mute Menu button. Two new buttons appear beside it.
Step 4 Press the
to SEL button. The SEL layout appears, and the channels that were muted are
now also selected. These channels are the ONLY channels selected – if there were other
channels selected before, they no longer are.
SEL to Solo or Mute
Constellation XCS allows you to solo or mute your selected channels. This is useful for listening
purposes.
To solo your selected channels:
Step 1 Engage the SEL layout by pressing the
SEL button.
Step 2 Select some channels.
Step 3 Hold down the
SEL button. Two new buttons appear beside it.
Step 4 Press the
to Solo button. The SEL layout remains, but the selected channels are now
soloed. These channels are the ONLY channels soloed – if there were other channels
soloed before, they no longer are.
To mute your selected channels is the same procedure, but press
to Mute in Step 4.
Solo Modes
Individual feeds may be soloed into the monitoring system. There are three solo modes which
may be entered by pressing the
SOLO key above any fader. These are solo-in-place or SIP, after-
fader-listen or AFL, and pre-fader-listen or PFL.
SIP mutes all other feeds leaving only the soloed feeds feeding the bus being monitored. SIP
supports monitoring in any format.
AFL and PFL modes replace the current monitor source with a stereo solo bus whenever a feed is
soloed. All soloed feeds are routed to the solo bus. Soloed link groups are automatically
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downmixed to allow all their members to be monitored in the stereo monitor bus, normal monitor
down mixing occurs between the monitor bus and the selected speaker set.
The AFL solo signal is derived after the feed fader and mute. PFL solo is derived before the feed
fader and mute.
Setup AFL/PFL bus
By default, there is no AFL/PFL bus set up in the system (this saves you from using up 2 bus
elements that you might not need). To create a bus for AFL/PFL:
Step 1 Type
ctrl+SHIFT+U. The System Variables display is shown.
Step 2 Select the checkbox: Allow PFL – reserve stereo buss
Step 3 Click OK
Select Solo Mode
Hold down a BLUE key and press the Utils key to enter the Utils menu. Press the {Solo} so ft
key to select the solo system to be used. Unless an ALF/PFL bus has been created, you will not be
able to selected these solo modes.
Soloed feeds are shown with a green indicator on the mixer video display.
Solo Clear
The Solo Clear button clears all currently soloed paths, press the Solo Clear button again to
restore the soloed channels.
SIP Defeat
Press the SIP Defeat key in the Path Configuration section of the Channel Panel to prevent the
selected feed from being muted when other feeds are put into SIP. Alternatively, hold down a
BLUE key and press the
MUTE key above any fader to toggle SIP Defeat for that channel. This
feature is useful for keeping reverb returns live when channels feeding them are soloed.
SIP Defeat feeds are shown with a grey solo indicator on the mixer video display.
SIP Defeat is sometimes referred to as Solo Safe.
Naming Inputs and Outputs
Inputs and outputs are named outside the Xynergi application. This is because they are a
permanent fixture in the studio, and it’s best to have their names in a separate file.
WARNING: what follows is a technical operation which can result in loss of resources. Please
follow the instructions carefully.
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The naming file is called I-O Config.txt and can be found in the following folder c:\Program
Files\Fairlight\FMC\Data
It contains information other than names, and this should not be disturbed. The instructions f or
naming are contained in the file itself, which can be opened and edited with any text editing
application.
System Ports
System output ports can only be accessed from the Monitor Setup Patch Outputs menu. Using
system ports for control room monitors prevents the operator from inadvertently patching signals
direct to the power amplifier inputs. To define a system port enter an attribute value of 1 as
described in the I-O Config file.
Naming Paths
Overview
The Name Path command allows you to name Tracks, Live Feeds, Buses and VC A Masters.
When you are choosing a name, it is advisable to use no more than two words of five characters
each, including numbers.
If you do, the complete name will be displayed on the Xynergi picture keys, making it easier for
you to choose signal paths.
If you use more than one space character, the first one becomes a breaking space, and the others
are put on the second line.
Get Ready
Press the green Mixer or Setup button.
Choose Path to Name
Select the first signal path you want to name. This could be visible in the top row of the picture
keys, or you may be able to access it using the Bank up and down keys. Otherwise, it can be
done as follows:
Press
SEL, choosing a signal path type (Tracks, Lives or Buses) if needed.
Press a signal path button.
Press
exit.
To choose a VCA Group Master, click its fader on the Mixer screen. If VCA Master Faders are not
visible, see Displaying Group Masters on page 69.
Name One Path
Now press the name path button (the QWERTY keyboard will be displayed).
Use the QWERTY keyboard to type a name for the signal path. Your typing appears inside the Pad
area, in the white box at the right.
Press
DEL if you want to completely remove the current name.
Press
Backspace to remove one character of the current name.
When finished, press
ENTER to apply the name or Exit to escape without changing the name.
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Naming More Paths
The system keeps displaying paths so you can keep naming them. Choose the next signal path
you want to name (the QWERTY keyboard will immediately be displayed).
Note: you may need to press the path button TWICE.
Press
exit when finished
Megamodes
Overview
A megamode is a complete layout of the Xynergi picture keys.
There are six megamodes, triggered by the green keys at the bottom of the controller.
Here is a quick outline of the
Megamodes.
Editor
This is the main platform for audio editing.
It contains a number of modes, the most useful of which are Cut, Copy, Erase, Trim and Fade.
While any of these modes are active, three action keys at the left of the Jog Wheel give you the
main commands needed e.g.
cut tail, trim head, erase clip.
For details of the main editing commands, see How ToEditing.
For details of the other modes and button, hold down the
Xplain key and press the button for
which you would like some Xplanation.
Mixer
This is the main platform for audio mixing and automation.
Automation comes alive when the
Mix On button is pressed. This enables all the automation
modes and commands to be displayed and used.
For details of the main mixing commands, see How ToMixing.
For details of the automation system, see How ToAutomation.
For details of the other modes and button, hold down the
Xplain key and press the button for
which you would like some Xplanation.
Setup
Setup is used for all the behind the scenes work. Most functions here are set and left for the
duration of the project.
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Some of the most important are the Bus-related modes such as Bus Format and Bus Assign, the
machine control setups - M1 and M2 setup, and the digital sync environment - Sync.
Many of these are demonstrated in How ToSetup.
For details of the other modes and button, hold down the
Xplain key and press the button for
which you would like some Xplanation.
Record
This is the place to do your recording.
Selecting tracks in this megamode Arms them for recording (but only if they have something to
record i.e. a patched input signal).
The ADR menu is also here. It's a great way to manage a post-sync session, or any other list of
recording tasks.
For details of the main recording commands, see How ToRecording.
For details of the other modes and button, hold down the
Xplain key and press the button for
which you would like some Xplanation.
Monitoring
This megamode is for setting up your monitor system.
Much of this is setup at installation, but there are also controls for setting up the monitors for a
particular session, and switching quickly between different sources and surround formats.
Speaker icons allow you to mute any of the current speakers.
For details of the main monitoring commands, see How ToMonitors.
For details of the other modes and button, hold down the
Xplain key and press the button for
which you would like some Xplanation.
Project
The Project Megamode is for file handling.
This is where you create, load, save and delete your work files.
For details of the main commands, see How ToFiles.
For details of the other modes and button, hold down the
Xplain key and press the button for
which you would like some Xplanation.
Recording
Basics
Overview
Constellation lets you record on multiple tracks at the same time, using the standard
Play+Record transport buttons to punch in.
It will punch in from Play or Stop, and can punch out with gapless monitoring of playback.
There are two recording modes, New and Tape Mode. The choice is made with a soft key in the
Arm Menu.
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In New Mode, each time a track enters record, a new clip is created on that track. If there is
already a clip present, the new one goes “on top” of the previous one. The upper clip is always
heard on playback.
In Tape Mode, existing audio can be destructively replaced. See the section on Tape Mode below.
To record on a track, it must be armed.
Before being armed, a track must have a source, or patched input.
Get Ready
Once you have a project open, select the Record Megamode by pressing the green Record
button.
Patching Inputs
Before you can record on a track, it needs an audio source, called an Input. The system has many
physical inputs, and you can patch any input to any track. The next section “Patc h Inputs to
Tracks” explains patching in detail. Here we will just get something patched and move on to
recording.
Press the
Patch button. The Mixer Screen shows a Patching dialog.
We are going to patch (connect) a physical input to the track where it will be recorded.
Ensure
Track Input is selected at the lower right, then select a track number to be recorded,
in the upper right.
Click
Analog Inputs or Digital Inputs at the lower left of the screen.
Select any
Input in the upper left of the screen.
Click
Patch to connect the physical input to the track.
Press the
Patch button to exit Patch and return to the Arm menu.
Note: Patching is used for all system connections between paths. Please see Patching Signal
Paths on page 51 for more details.
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Arming Tracks
Tracks can be armed in three different ways. Please try all these now to get familiar with your
system:
Press a Track button when the
Arm menu is displayed (in the Record Megamode). This
track button should turn red
Click the circular button next to a track number on the Edit screen. The button should
turn red.
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Right-click a track on the Mixer screen to show the Virtual Channel. It has a number of
controls for the selected channel, including an Arm button. This should turn yellow when
armed.
If you try to arm a track and its buttons do not respond by changing colour, the track probably
has no audio source. A message will also appear at the bottom of the Edit Screen.
To fix this, go to the Patch page, as described above in “Patching Inputs” and give it a source.
Once a track is armed, use the Play and Record keys to punch into record – Play, Stop, REW, FF
or Jog to punch out.
Record Monitoring
Overview
When a track is armed, you can choose whether to listen to its input signal, its playback signal
(REPRO), a switched combination, or nothing.
The
Monitor soft key switches this function.
This guide shows you how to set the Monitor setting, and tells you what the different settings do.
Click here
to Arm
Track 1
Right-Click
here to see
the Virtual
Channel
for Track 1
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Get Ready
Press the green Record Megamode button to access recording functions. The Arm menu will be
automatically selected.
To hear the effects of the monitoring changes, you will need to have a track armed, with an
audible input connected to it. If you wish to use the Oscillator as a source, press the
patch
button, then select the Oscillator at lower left. Choose
OSC COMMS 2 for the oscillator, or Noise
for the noise generator. Now select one or more tracks, and click the
Patch button on screen.
Press the
patch button again to exit the Patch screen.
Monitor Soft Key
Press the Monitor soft key to toggle between INPUT and the last other setting you chose (AUTO
by default).
To select another setting, hold down the BLUE key and press the
Monitor soft key. Now turn the
Jog Wheel to cycle through the possibilities. Press ENTER to select one of them.
INPUT – always monitors the input to the track.
AUTO – monitors repro in Play or Jog, otherwise input.
RECORD – mutes the track when stopped, otherwise as AUTO
MUTE – mutes the track while in Record, otherwise repro
REPRO – always monitors recorded audio
Tape Mode
Overview
When Tape Mode is selected, you can punch in on existing Tape Mode clips and replace the audio
media. This can save filling up disks with unwanted material, and results in a cleaner, simpler
project with fewer clips.
Get Ready
Press the green Record Megamode button to access recording functions. The Arm menu will be
automatically selected.
Record NEW / TAPE soft key
Press this soft key, so that TAPE is displayed.
Using Tape Mode
If you punch into record over existing Tape Mode clips (shown yellow) the audio media will be
replaced as you record. If you continue to record past the end of the clip, it will be extended.
If you punch into record in empty track space, or over an Edit Mode clip (shown red or blue) the
system will create a new Tape Mode clip.
Creating Tapes
If you would like to ensure that only one clip per track is created by recording, you can start by
making a Tape. This means making a Tape Mode clip on each track.
Start by pressing the
Record NEW / Tape soft key.
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Use the From and To keys to make a range that represents the length of the Tape you want to
make.
Arm the tracks where you want to put a Tape Mode clip.
Press the
Setup Tape soft key. Now you have two choices.
Blank Tape will make a blank (zero waveform) Tape Mode clip on each armed track, filling the
range.
Render Tape will make a single Tape Mode clip on each armed track, copying all the audio that is
already in the range on the armed tracks. Afterwards you can replace any parts that are not
correct by recording over them.
Both
Blank Tape and Render Tape run quite fast – about 10 seconds for each hour of track
time. The advantage of using them is that you do not need to record sequentially – you can move
around anywhere in the Tape and replace the parts you are ready to work on.
Add Handle
Overview
A Handle is an extra piece of audio at the beginning of a recording. The system automatically
adds this piece, just as if you entered recording earlier.
This can be very useful when trying to capture performances, as it gives you extra time to react.
This guide shows you how to set the length of recording handles.
Get Ready
Press the green Record Megamode button to access recording functions. The Arm menu will be
automatically selected.
Handle soft key
Press the Handle soft key, then change the displayed number of frames by typing on the Numeric
Keypad
, using the Jog Wheel, or pressing the + and – buttons.
Press
ENTER to apply the displayed number.
Note: if the transport has not been rolling for as long as the handle before you issue the record
command, the system will create a shorter handle.
Auto Name
Overview
Every clip is given an automatic name when you record it. This name consists of a seedname and
a number.
The seedname is applied first, then a number is appended, incrementing by one for each new clip.
Each Track has its own seedname.
You can change the seedname for each track, and also set the starting number at any time.
Get Ready
Press the green Record Megamode button to access recording functions. The Arm menu will be
automatically selected.
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Set the Seedname
Select the track(s) whose seednames you wish to change.
[Since you’re on the Arm Menu, this will also attempt to arm the tracks, but this won’t work unless
they have patched inputs – see How to Patch Inputs to Tracks for details. If you want to set
seednames for unarmed tracks, see the section below called “Using the Name Menu”.]
Press the
seed name button to display the seed name dialog. Use the QWERTY keyboard to type
the name, then
Tab or click the Starting Seed Number, and use the keyboard to set it.
Click
OK to finish. You can do this while in Record.
If you give more than one track the same seed name at the same time, their clips increment as a
group, preventing repeated names.
Using the Name Menu
Press the name button to display a selection of all tracks. Select the one(s) whose seednames you
want to change.
Press the
seedname soft key to display the seed name dialog. Use the QWERTY keyboard to type
the name, then
Tab or click the Starting Seed Number, and use the keyboard to set it.
Click
OK to finish. Press exit to leave the Name menu.
Clip Naming
Each clip can be given a typed name.
For existing clips, you select them and issue the clip name command.
You can also name clips while they are being recorded.
These facilities are available in the Editor Megamode and the Record Megamode. We only show
the latter here, because it is more convenient, especially to name whilst in Record.
Get Ready
Press the green Record Megamode button to access recording functions. This includes naming
clips.
Name the Clips
Select the track(s) whose clips you wish to name.
[Since you’re on the Arm Menu, the system will also try to arm the tracks, but this won’t work
unless they have patched inputs – see How to Recording Patch Inputs for details. If you
want to name clips on unarmed tracks, use the Edit Megamode, or see below for “Using the Name
Menu”.]
For existing clips, they must be touching the cursor, or wholly inside the range. In either case
they will be coloured Red.
Press the
clip name button. If any clip is red, or if the transport is in Record, the clip name
dialog is displayed.
Use the QWERTY keyboard to type the name, then press
ENTER or click OK to finish.
Note: If you select more than one clip, or more than one track in record, the affected clips will all
get the same name.
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Using the Name Menu
Press the name button to display a selection of all tracks. Select the one(s) whose clip names you
want to change.
To rename clips, they must be touching the cursor, or wholly inside the range. In either case they
will be coloured Red.
Press the
clip soft key to display the name dialog. Use the QWERTY keyboard to type the name,
then press
ENTER or click OK to finish. Press exit to leave the Name menu.
Record menu
Overview
The record menu gives you some recording shortcuts.
These include record head, record clip, record here and record again. These are explained in the
next step.
Get Ready
Many record menu commands use a Pre-Roll. The Pre-Roll time can be set in the ADR menu
(press the green
Record Megamode button then ADR, then use the on-screen dialog).
Using the Record Menu
Hold down the Record button in the transport section (lowest row on the console).
The Pad displays the Record Menu soft keys.
head prerolls, then punches in at the nearest clip head on the selected track
clip prerolls, then records the length of the nearest clip on the currently selected track
here prerolls, then punches in at the current position
range prerolls, punches in at From and out at To. This command is shown only when there is a
range.
again prerolls, then repeats the last recording you made
Punch individual
Overview
The Record button punches all armed tracks into and out of record.
What if you want to punch individual tracks in and out, without affecting others?
Using the track arming keys, you can have individual control of which tracks are in record.
Get Ready
Press the green Record Megamode button to access recording functions.
Patch inputs to a number of tracks, but don’t arm them yet (see How to Recording Patch
Inputs for details).
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Punch Individual Tracks
Put the transport into record by pressing Play and Record together. Nothing is recording yet,
because nothing is armed.
Now press one of the
track keys of the patched tracks. That track will go into record.
Press another track key. The second track will go into record. Press it again – it comes out of
record, while the first track continues to record.
Auto Rec
Overview
Constellation allows you to record sections of track automatically, with the transport doing the
pre-roll, punch in and punch out.
This is done by making a range, using the From and To keys, then using the Record Range
command on the Record menu.
Get Ready
Press the green Record Megamode button to access recording functions.
Patch inputs to a one or more tracks, and arm them (see How to Recording Patch Inputs
for details).
Auto-Rec uses a Pre-Roll. The Pre-Roll time can be set in the ADR menu (press the green
Record
Megamode
button then ADR, then use the on-screen dialog).
Auto Rec Operation
Make a range as follows:
Locate to the desired in point and press the
From key.
Locate to the desired out point and press the
To key.
The
rec range button is displayed to the left of the Jog Wheel.
Press the
rec range button to do an automatic recording of the range.
Patching Signal Paths
Overview
The previous topic mentioned patching inputs to tracks. This section deals with the subjec t in
more detail.
Before a track can be armed, it must have some type of input signal, or source. Normally this will
come from a Physical Input (analog or digital). It may also be a Bus Output, the system Oscillator,
the Direct Output of another signal path, an Insert Send, and so on.
Patching (connecting) any of these signals to the input of a track (or to some other destination) is
done on the Patch dialog. This is accessed from the Record, Mixer or Setup Megamodes. To get
there, press one of the green buttons with these labels.
The Patch Dialog
Press the Patch button to display the Patch dialog.
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This is an overlay to the Mixer screen, where the mouse is u sed to select sources and
destinations, then patch them together.
You can patch one source to many tracks, but not vice versa.
Sources are shown on the left of the screen, while destinations are shown at the right.
Source Categories
Categories of signal paths are selected in the lower part of the screen.
Selecting a category of sources expands the category in the upper left of the screen.
Source categories
Source categories
Sources
Destination categories
Command
Buttons
Destinations
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In this case Analog Inputs have been selected.
Destination Categories
Selecting a category of destinations expands it into the upper right of the screen.
Destination categories
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In this case Track Inputs are shown.
Making a Patch
Select a source and a destination then click the Patch button in the center.
Afterwards the tiles used in the patch will show the results. Source is always shown above
destination.
Source
Destination
Source
Destination
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Notes: You can select multiple sources and multiple destinations and patch them all with one
command. For example, select Analog Inputs 1 to 8 and Track Inputs 9-16, then click the Patch
command once.
Any source can be patched to any destination. For example a Bus Element can be patched to a
Track Input, for recording purposes. To illustrate, select the Category Sub-Bus Out (the outputs of
all the Sub Busses.) The expanded view will show the Sub-Bus elements separately, and they can
be selected and patched to track inputs for recording.
To deselect all the signal paths you have selected, touch the Clear button.
The Multi Button
Clicking the Multi button allows you to patch the same sources multiple times.
Normally after a patch, both sources and destinations are deselected, but if Multi is ON, the
sources remain selected through as many patchings as you like.
View Buttons
The View buttons control which names appear on the tiles.
If you choose View System, the names shown are the functional system names like Track 5, Live
3 etc.
If you choose View User, the names will be the ones you have given to these signal paths. For
signal paths where you have not given a name, the system name is used.
The Info Button
Pressing the Info button allows you to see more detail about specific tiles. To do this, press Info,
then click on any tile. The system will show a box with information about the source and
destination patching associated with that tile.
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What are the Categories?
Each category name has two parts. The first part can be
Track – a recording track
Live – a Live Feed, which is a full-featured channel bringing audio directly to
a bus
Main – the Main mix bus
MT-Bus – a Multi-track bus, as used in traditional mixing systems
Sub-Bus – a multi-Element bus used for extra mixing functions
Aux-Bus – a mono or stereo bus, tied to the Auxiliary sends on the channels
Mon – shows the elements of the Control Room and Studio monitor paths
Analog – an analog physical input or output
Digital – an AES-EBU physical input or output
MADI – a MADI physical input or output
Osc – the system oscillator and noise generator
The second part can be:
In – the input of a signal path (not a physical input)
Out – the output of a signal path (not a physical output)
Direct – each signal can have a Direct Output
Send – Insert Send from a signal path
Return – Insert Return to a signal path
Talkback – the Talkback system – shows Comm1 and Comm2
Inputs – physical inputs (analog or digital)
Outputs – physical outputs (analog or digital)
Meters – the components of the current Meter Set (see Meters page 202)
So, for example Analog Inputs means the physical analog input ports, while Aux-Bus Send means
the Insert Sends from the Aux Busses.
Reverse Patching
Overview
There is a quick way to perform simple patching i.e. choosing sources for recording. It’s called
“reverse patching” because you select the destination first.
You can patch to multiple tracks at the same time, but the only allowed sources are the Physical
Inputs on the SX-20, and the system buses.
Get Ready
Press the green Editor button.
Selection
Press and release the SEL button. Xynergi displays 48 tracks.
Select the tracks to which you want to patch inputs.
Patching
Hold down the Set Source button. You can now see all the system buses, other than those with
zero format, and below them, the four analog and four digital inputs from the SX-20.
Some of the source may be lit – that means they are patched to one or more of the selected
tracks.
Press the source that you want to patch to the selected tracks. This source is now patched to all
of the selected tracks, subject to the following rules:
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If the source is a bus, its elements are patched sequentially to the selected tracks and their
neighbours. For example, Sub 1 is a stereo bus, and Tracks 3, 5 and 6 are selected. After pressing
Sub 1, the patching will be as follows:
Sub1 Left Track 3
Sub1 Right Track 4 (though it wasn’t selected – it just happens to be Track 3’s neighbour)
Sub1 Left Track 5
Sub1 Right Track 6
Monitors
Toggle Main and ALT Speakers
Overview
The system allows you to define many speaker sets. There is always a Main set, usually your large
Control Room monitors. You may also create many other sets and choose them whenever you
like.
The system remembers the last non-Main one you chose, and calls it the Alternative (ALT)
Speaker Set.
Toggle Main and ALT Speakers
Press the Control Room Dim and MUTE buttons together. This will toggle between the MAIN and
alternative monitor speakers.
The Mon Megamode button indicates when any alternative monitor function (ALT Speakers, ALT
Format, ALT Source) is being used.
You can still use the MUTE and DIM buttons for their normal functions.
Choose Speakers
Overview
The system allows you to define many speaker sets. There is always a MAIN set, usually your
large Control Room monitors. You may also create many other sets and choose them whenever
you like.
This guide shows you how to select any defined speaker set. This will become the Alternative
(ALT) Speaker Set.
Get Ready
Press the green Mon button.
Press the
Mon Setup button if it’s not already lit.
Choose Speakers
Choose one of the speaker sets named on the Soft keys. MAIN refers to the main speakers, and
the others can be called SpkrSet1, 2 etc, or may have been given names.
You can only choose speaker sets that have been defined i.e. given physical outputs. These sets
have a dim light in their soft keys.
To define more speaker sets, press the
Config Monitors soft key and work on the Mixer Screen
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For details about this see How to Monitors Config Speakers.
Configure Monitor Speaker Sets
Overview
The system allows you to define many speaker sets. There is always a MAIN set, usually your
large Control Room monitors. You may also create many other sets and choose them whenever
you like.
This guide will show you how to set up the formats, outputs and names of your speaker sets.
Get Ready
Press the green Mon button.
Press the
Mon Setup button if it’s not already lit.
Configure
To configure speaker sets, press the Config Monitors soft key and work on the Mixer Screen
Choose a Speaker set at the lower left.
Click the
Increase Format button until you see the desired format for this speaker set.
Select all its Elements (Left, Center, Right etc) at the top left.
Click Analog (or Digital) outputs at lower right.
Choose the right number of free outputs to match the number of speakers. Click
Patch.
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Click Name if you want to name the Speaker set
Press the
end soft key to leave the Config Monitors screen.
Choose Monitor Speaker Outputs
Overview
The system allows you to define many speaker sets. There is always a MAIN set, usually your
large Control Room monitors. You may also create many other sets and choose them whenever
you like.
This guide will show you how to choose outputs for any of your speaker sets.
Get Ready
Press the green Mon button.
Press the
Mon Setup button if it’s not already lit.
Set Outputs
Press the Config Monitors soft key and work on the Mixer Screen
Choose a
Speaker set at the lower left.
Select all (or one) of its Elements at the top left.
Click
Analog (or Digital) Outputs at lower right.
Choose the right number of free outputs to match the number of selected elements. Click
Patch.
Repeat as needed.
Press the
end soft key to leave the Config Monitors screen.
Change Monitor Listening Format
Overview
You can tell the system to play into a narrower format than your current speaker set. This is
called “folding down”.
For example, you can listen to your 5.1 mix in stereo, without changing speaker sets, by changing
the Listening format.
The system remembers the last non-standard listening format you used, and calls it the
Alternative Format. This can be heard at any time by pressing the ALT Format button in the Mon
Megamode (press
mon then ALT Format)
This guide will show you how to choose a listening format.
Get Ready
Press the green Mon button.
Press the
Format Setup button.
Choose Format
Select any of the formats shown on the soft keys. The system immediately switches to that
format.
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Note: choosing a format wider than your current Speaker Set has no effect. You cannot “fold up”
to a higher format!
Choose any other mode to leave the Format Setup menu.
Note: Stereo and Mono compatibility are immediately available as toggles on the
Stereo Comp
and Mono Comp switches, unless the current speaker set already has this format.
Configure Monitor Sources
Overview
The standard source for monitoring is the MAIN system bus.
You can choose many other sources, including other system buses, or External Source Sets, which
are used for your CD player, video machine etc.
The system remembers the last non-standard source you chose, an d calls it the Alternative
Source. This can be toggled using ALT SOURCE in the Mon layout (press
Mon, then ALT SOURCE)
This guide shows you how to choose an alternative monitor source, and configur e External
Sources.
Get Ready
Press the green Mon button.
Press the
Mon Setup button if it’s not already lit.
Choose Source
System buses can be chosen for immediate listening on the picture keys. To access and configure
External Sources, press the
Source Setup button. Choose any defined External Source using the
Soft keys.
Source Config
To define or change an external source, press the Source Config soft key.
Choose the external source you wish to define, and the monitor set that will play it (Control Room
or Studio Monitor).
Choose Analog Inputs or Digital Inputs at the lower left.
Choose the inputs you want to use at the upper left and their destination Monitor Elements at the
upper right. Click
Patch. Click Rename to name the set. Repeat as required.
Choose any other mode to exit Source Setup.
ALT Switches
Overview
The ALT switches in the Mon Megamode allow you to quickly change from standard settings to
alternative ones.
The standard monitoring situation is:
Main speakers, playing Main bus, listening to all appropriate speakers.
You can choose an alternative speaker set, an alternative source, and/or an alternative listening
format. This guide shows you how.
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Get Ready
Press the green Mon button.
Details
To toggle to an alternative set of speakers, press Alt spkr.
This will toggle to the last non-standard speaker set you used (or the first defined set if you
haven’t used any yet). Note: you can also do this by pressing
MUTE and DIM together.
To toggle to an alternative monitor source, press
Alt source.
This will toggle to the last non-standard source you used (or the first defined External Source set
if you haven’t used any yet).
To toggle to an alternative monitor format, press
Alt format.
This will toggle to the last non-standard format you used (if any)
Setup
Frame Rate
Overview
Timecode Frame Rate can be changed at any time while a project is open, and the timecodes of
all clip heads and tails, Marks and other time-based items will update to match.
This guide shows you how to change frame rate.
Get Ready
Press the green Setup button.
Press the
sync key. This displays the Sync Smart Panel above the Edit Screen.
Note: you can also select the Sync Smart Panel at any time using the mouse with the View menu
above the Edit Screen, as follows:
View
Smart Pane Sync Setup
Details
Use the pull-down menu to choose frame rate.
Other fields include:
Extn Frame Rate
if you are using a video reference to drive your SX-20, set this field to the
frame rate you are feeding it.
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Pull Up/Down used to compensate for differences between 29.97 and 30 frames per second.
Det’ Sample Rate detected sample rate. This will vary according to pull up or down, and
external frame rate.
Sample Rate
Overview
Sample rate is set when you create a project. It cannot be changed afterwards.
See How to Files New Project
Sync Source
Overview
The sync source driving your system is normally a clock connected to your SX-20.
This guide shows you how to select sync source.
Get Ready
Press the green Setup button.
Press the
sync key. This displays the Sync Smart Panel above the Edit Screen.
Note: you can also select the Sync Smart Panel at any time using the mouse with the View menu
above the Edit Screen, as follows:
View
Smart Pane Sync Setup
Details
Use the pull-down menu to choose sync source. Choices are:
SX-20 Internal runs from a crystal inside the SX-20
SX-20 Video synchronises to the video signal connected to the rear of the SX-20.
SX-20 WCLCK synchronises to the word clock signal connected to the rear of the SX-20.
SX-20 S/P-DIF 1/2 synchronises to the S/P-DIF signal connected to inputs 1 and 2 at the rear
of the SX-20.
SX-20 S/P-DIF 3/4 synchronises to the S/P-DIF signal connected to inputs 3 and 4 at the rear
of the SX-20
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Preroll and Postroll
Overview
Functions where the system drives the transport automatically often use a pre-roll and post-roll to
create breathing space around an activity range.
This guide shows how to set pre-roll and post-roll
Get Ready
Press the green Record button. Now press the ADR button and use the dialog in the Edit Screen.
Click in the
Preroll or Postroll field in the ADR dialog.
Type in a number of seconds for the desired length of roll.
Press the
ENTER key or click in another field to apply the time you typed.
To exit the ADR dialog, choose another mode or megamode.
See a later chapter on ADR for more details.
Bus Format
Overview
Xynergi supports four types of buses (mix destinations)
MAIN - the main bus. Can support any format from mono to 7.1. Cannot be turned off.
Sub-Buses 1 to 8 - extra buses with format from OFF to mono to 7.1. Also support Bus Reduction
for simultaneous mixing in more than one surround format.
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Auxes 1 to 12 - support formats from OFF to mono to 7.1
Multi-Track (MT) buses 1 to 24 - OFF or mono only.
This guide shows you how to set formats for your buses.
Note: The total number of bus elements is finite!
Get Ready
Press the green Setup button.
Press the
Bus Format button.
Set Bus Formats
Main, Subs and Auxes can be selected. Press the Bus/MT toggle to access MT buses (deselect
everything
first!)
Select a
bus. Current format is shown as a bright Soft key, and by speaker icons below. Press a
dimly lit soft key to change format.
If you select multiple buses with different formats, no soft key will be lit brightly, and speakers will
appear foggy. But you can still set them to any available format – then the speakers become
clear.
The Pad shows how many Bus Elements are left.
Bus Reduction
To learn about Bus reduction, select a Sub-Bus with non-zero format, and press Reduct'n Mode.
Bus Reduction is used when you need to mix to more than one format simultan eously. Every
channel that goes to the Main Bus can also be assigned (manually or automatically) to the SubBus that will be used for Reduction (see How To Setup Bus Assign later in this section).
In addition, you can offset the level of a channel going to the Reduction Bus, compared with its
level going to the Main Bus.
In Reduction Mode, a Sub-Bus has its own fader on each channel. These are controlled using
Faders To... Sub-Bus faders may be set pre or post the Main channel fader, using Bus Params
(see How To Setup Bus Params later in this section). All faders default to 0dB – in post
fader mode they offset Reduction fader levels from Main levels.
Use the soft keys to set the Reduction Mode:
Normal no reduction. Sub-Bus level = Main level.
Reduce reduction is on. Path is assigned to the Reduction bus automatically when assigned to
Main.
Free reduction is on. Path assignment is independent.
Press
end to exit.
Bus Assign
Overview
Assigning a path to a bus means sending it to that mix destination. Every path in the system has
separate assignment to every bus, meaning that you can choose which paths go to which buses.
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Bus-to-bus assignment is limited. Sub-Buses can be assigned to the Main Bus, but not to each
other. Main, Aux and MT Buses cannot be assigned to any other bus.
The Bus Assign screen is designed to assign multiple paths to one bus. If you wish to do it the
other way around (one path to multiple buses) use the
Path layout in the Pad. This is visible in
the Editor and Mixer Megamodes.
This guide will show you how to assign paths to Buses using the Bus Assign screen.
Get Ready
Press the green Setup button.
Press the
Bus Assign button.
The Bus Assign Screen
Select a destination bus at the bottom of the screen (in the picture, Sub 1 is selected). Each path
already assigned to that bus is highlighted (tracks 88 to 90 are highlighted). Each path shows the
buses to which it is currently assigned.
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Click any
path to toggle it on or off the destination bus.
To toggle multiple paths, click and drag the mouse over them.
Use
Page Up and Page Down to reach more paths. Sub-Buses are at the bottom of the second
page. They are grayed out unless Main is the selected destination.
Assigning Subs to Main (this picture is distorted to save space).
Stem Assign
Overview
Sometimes it's necessary to assign a path to part of a bus.
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In a 5.1 mix, for example, you want to pan some effects left and right, but avoid the center, to
keep the dialog clear. To achieve this, you de-assign these effects from the Center Element of the
bus.
This guide will show you how to de-assign paths from selected elements of a Bus.
Note: you must assign the paths to the Bus before using Stem Assign.
Get Ready
Press the green Setup button.
Press the
Stem Assign button.
Operation
Select the destination bus.
Select some
Tracks or Live Feeds that are already assigned to that bus.
The speaker icons below represent the Bus Elements. Press a
speaker and it gets a red cross.
That element is no longer assigned.
Use
Bank and Tracks or Lives to reach more paths.
Note: if the red crosses won't go away when you select your bus and your paths, they are
probably not assigned
Bus Params
Overview
Bus Params allows you to toggle pre post for a number of paths at the same time.
For Aux Buses, pre means that the aux send goes before the channel fader send, and before the
channel mute button. Post means the opposite.
For Reduction Buses, pre means the send to the reduction bus is completely independent of the
Main bus, while post means that the Reduction Bus fader is an offset to the Main bus fader.
In both instances, post is the more common setting, except where Aux buses are being used for
headphone cue mixes, in which case they are usually independent of the main mix.
Get Ready
Press the green Setup button.
Press the
Bus Params button.
Operation
Select the destination bus. Note that all Aux buses are shown, but Sub-Buses are only shown if
they are Reduction Buses.
Select some
Tracks or Live Feeds.
Use the PRE POST soft key to toggle pre post. The
> symbol shows which is selected. If the
setting is not the same for all the selected paths, the
> is displayed twice, and the soft key
flashes. Pressing the soft key will make them the same.
Use
Bank and Tracks or Lives to reach more paths.
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Link Groups
Overview
A Link Group is a collection of up to 8 paths which are selected, edited and mixed as one entity.
A Link Group must be all Tracks or all Live Feeds, never a mixture, and must be contiguously
numbered.
Selecting one member of a Link Group selects all members.
This guide shows you how to set up Link Groups.
Get Ready
Press the green Setup button.
Press the
Link Gp button.
Creating a Link Group
To create a new Link Group, press the Track or Live Feed that you wish to be the first member of
your Link Group (or the last).
To remove or change defaults for an existing Link Group, select one of the green or brown
buttons, which denote membership of a Link Group.
The system highlights 7 paths before and 7 after, which are the limits for selection of your Link
Group.
Press the last (or first) member for your Link Group.
Now choose the application of defaults:
Default Pans pans the members as though going directly to a surround bus e.g:
Two members pan hard L and R.
Three members pan L, C and R.
Six members pan L, C, R, LS, RS, and de-assign the sixth member from all bu s
elements except Boom.
Feed Params copies all settings (except panning) from the first member to the others.
All Defaults executes default pans and copies feed parameters
Modifying or Removing a Link Group
Press the Link Gp button.
To remove or change defaults for an existing Link Group, select one of the green or brown
buttons, which denote membership of a Link Group.
Use one of the following soft keys to unlink the group:
Unlink unlinks the members without reassignment
Unlink and reassign unlinks the members. If the Link Group had a Boom member that was de-
assigned from all other Bus Elements, it is reassigned to them.
Alternatively you may use the soft keys change the defaults as explained in creation of Link
Groups.
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Fader Groups
There are 10 VCA-style Fader groups on Constellation. Members of a Fader Group have their fader
levels controlled by a Master, and can also be accessed individually to set relative levels within the
group.
Control
Faders in a group are controlled relatively by the Group Master fader. To do this, you must either
CALL the Group Master to the Channel Panel, or add it to a fader set.
Displaying Group Masters
The Mixer Screen optionally shows VCA Group masters. To control this:
Step 1 Open the System Variables window by typing
SHIFT+ctrl+U
Step 2 In the Screen Layout section, select Show VCA Groups + Automation, or Show VCA
Groups + Timecode, or Show all three.
Step 3 Close the System Variables window by typing
esc or clicking OK.
This setting will be remembered for future sessions.
Members of a Fader Group are indicated on the Main Screen graphics with the inclusion of fader
group indicator, located immediately below the Track/Live channel number.
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Global Assignment
Fader Group membership can be controlled globally using the Grouping Window. To open this,
click on the Mixer screen and type
SHIFT+ctrl+V
To use this window:
Step 1 Select a VCA group at the bottom of the window.
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Step 2 Toggle signal paths in and out of the group.
Step 3 Use Page Up and Page Down to access more Tracks and Live Feeds.
Step 4 To close this display, type
SHIFT+ctrl+V again or esc, or right-click on the window.
Individual Assignment
To add/remove tracks and lives to/from a fader group:
Step 1 Call the desired feed
Step 2 Press & hold the FADER GROUP key (top right corner of the Channel Panel)
Step 3 Toggle the feed in/out of a group using the fader set keys 1-9.
Membership of fader groups can also be controlled in the Virtual channel, which is accessed by
right-clicking a channel tile in the Mixer screen.
Calling a Group master
To CALL a group master, click its fader on the Mixer Screen. If not visible, see Displaying Group
Masters, above.
Click here to
change the
Fader Group of
the called
channel.
Zero means no
Fader group
membership.
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Files
Create a New Project
Overview
The project is a file containing your instructions about what audio to play, how to mix the audio,
what plug-ins to use, etc.
In fact it contains everything about today’s job except any Automation Files you have recorded
(see How to Files Save Automation for details)
When you create a new project, you must specify details about its contents. Some of these cannot
be changed later.
See the next step for details.
Note: you can bypass this procedure using the mouse, and go directly to the
File New
command above the Edit screen.
Get Ready
Press the green proj menu button.
Press the
Proj button, if not already selected.
Operation
Press the new soft key in the Pad.
If you already have a project open, the system will prompt you to save it. Respond, and a New
Project form will appear on the Edit Screen.
Type a name for your new project, then fill out the rest.
Note: The number of tracks and the sample rate cannot be changed after you set them here.
Choose the DREAM II Project Type unless you are planning to interchange with owners of older
Fairlight QDC systems.
Click
OK to create the new project.
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Open Project
Projects you have already saved are accessed via a Windows dialog. You can get there using the
Xynergi controller as follows.
Press the green
proj megamode button. Press the proj button, if not already selected.
Press the
open soft key in the Pad. This opens a Windows Open dialog.
Use the mouse to navigate the Open dialog showing on the Edit Screen.
Click OK when you have found the project you want.
Or: select from the list of recently used files.
Note: you can bypass the Xynergi controller and use the mouse directly, by clicking
File Open
above the Edit screen.
Import project
Overview
Importing a project is like opening one, where the file format is non-Fairlight.
It is done through the Windows File menu, which is above the Edit Window.
You must have a project open before importing a third-party file, so that it has somewhere to go.
Operation
Click File on the menu bar above the Edit Screen, and select the Import command.
Select the right file type from the list, then navigate to the file you want to Import. Click
OK.
Save Project
Overview
You must save your project, or you will lose all the work you have put into it.
This is done via the
Project menu in the Proj Megamode.
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Alternatively you can use the mouse, and go directly to the File Save command above the Edit
screen.
Get Ready
Press the green proj menu button.
Press the
Proj button, if not already selected.
Operation
Press the save soft key in the Pad. This saves the project immediately.
Alternatively, press the
save as soft key. This displays a dialog where you can enter a new name
and save an alternative version of the project.
Note: when using Save As, none of the audio in the project is copied, only references to that
audio. This may reside in the original project, in external files, or both.
What you are Saving
The save command always saves the Edit List, which includes references to all the media being
accessed by your project (these are saved automatically when recorded). Also saved are the Bus
Formats, Bus Assignment, Monitor setup, path names, seed names and other configuration data.
The Mix information is optionally saved, and can also be manually saved at any time (see Save My
Automation Data below)
To ensure that Mix information is automatically saved when you save the Proj ect, do the
following:
Go to the Mixer Megamode
Select
Mix On to display automation commands
Press the
file button to open the Mix File menu
Press the
System Mix soft key so that it displays ON.
When System Mix is on, the system saves, with every project save command:
A static mix of all parameters including Faders, Mutes, EQ, Dynamics, Plug-ins (not solos)
The current automation mix, if any
In addition, when System Mix is ON, these same items are loaded when a project is opened (if
they were saved in the file, otherwise default settings are loaded).
Save My Automation Data
Overview
Automation data must be saved independently from the rest of the project. This allows it to be
copied from project to project as needed.
This guide shows you how to save automation data.
Get Ready
Press the green Mixer button.
Press the
Mix On button to display automation commands.
Press the
file button to display the Mix File menu.
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Operation
Press the Save soft key.
The system displays a suggested name for the new file with an incrementing number as the
suffix. After optionally editing this name, press
ENTER to save the mix.
Note: Each time you save the automation data, a new file is created. Even if you choose the same
name as another saved mix, the system will not delete any old mix.
To get rid of saved mixes, you must select and delete them in this File Menu.
Load the Demo project
Overview
The demo project is included with the system software.
It contains audio clips and mixing information that you can use to learn how the system works.
During installation you were advised to place it in a known location. This item will guide you to
that location.
Operation
Press the open soft key in the Pad. This opens the Windows Open dialog.
Use the mouse to navigate as follows:
Click on the "Look in:" list box and select Audio(D:), or whichever is your designated Audio drive.
Double-click "FairlightAU"
Double-click "Projects"
Double-click "Xynergi_Demo"
Double-click "Xynergi_Demo.DR2"
The project should open.
Mixing
Using the Pad
Overview
The Pad is used to set all signal processing parameters.
In this guide you will see its general workings, using the EQ control as an example.
Note: an alternative to using the Pad is to right-click with the mouse on any Channel Tile in the
Mixer screen. This displays a Virtual Channel where all parameters can be seen and controlled.
Note: information about the Pad's behaviour under automation can be accessed via How to
AutomationPad Overview
Get Ready
The Pad rotary controls are always available. To choose what type of controls are active, we must
select the Edit or Mix Megamode, or the SEL layout.
For now, choose the Edit Megamode by pressing the green
Editor button.
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We will use the EQ display to show how the Pad works. Press the EQ button.
Operation
Normally the rotary knobs control the upper function in the box, which relates to the chosen type
of signal processing, i.e.
Path, EQ, Dyn, Aux or Plug-ins.
In the EQ case they control EQ frequencies and gains. These parameters are shown in Black
type, with a blue background. The lower set are shown grayed out.
The ALT key
Now hold down the ALT key.
While
ALT is held down, the lower parameters become active. These parameters relate to the
upper parameters e.g. the word IN below Band 1 Gain toggles Band 1 IN.
Many
ALT functions, like Band 1 IN, are switches. These are toggled by touching the rotary knob.
Others, like Q-factor, are controlled by
turning it.
In addition, the Pad Soft Keys are displayed. The upper ones are toggles like EQ IN, while the
lower ones are alternative pages of controls.
The Pad Soft Keys can be locked into place using the
Pad Lock button in the Mixer Megamode, or
by double-pressing
Path, EQ, Dyn, Aux or Plug-ins.
See How to Mixer Pad Details for more information
Using SEL
Press and release the SEL button.
While SEL is active, the
Path, EQ, Dyn, Aux and Plug-ins buttons are available. This means that
SEL is a kind of all-purpose mixing environment where any path can be selected, and any mix
parameters can be accessed.
Pad Details
Overview
The Pad is used to set all signal processing parameters.
In this guide we’ll look at all the functions of
Path, EQ, Dyn and Aux. The Plug-ins button has
the effect of displaying a graphical user interface created by the manufacturer of the Plug-in.
Get Ready
Press the green Mixer or Editor button.
Note: Some signal paths do not have all signal processing capability – these include sub-buses,
MT-Buses and monitor speakers. For the purpose of this guide, please select a Track on the upper
12 picture keys. If no track is visible, do the following:
Press
SEL, press Tracks, press a track number button, press exit.
EQ
There are four modes for EQ. To switch, ALT + lower soft keys.
Mode 1. Bands 1 to 4 are shown, with Gain controls at the right and Frequency at the left.
Mode 2. Bands 1 and 2 are shown in more detail.
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In the detailed mode, SHAPE refers to the type of filter being used for that band, with a choice of
Notch, Bell Hi-Shelf or Lo-Shelf.
Range refers to the frequency range in which the band operates, with a choice of low frequency
(LF), low mid (LM), high mid (HM) or High Frequency (HF).
Mode 3. Bands 3 and 4 are shown in the detailed mode.
Mode 4. Hi and lo-pass filters are shown. Filter bands
In/Out at left, Hi/Lo selector at right
Hold down the ALT key for more functions.
EQ – ALT
EQ In/Out is toggled by an upper soft key. When EQ is in circuit, its graph line changes from grey
to heavy yellow, and the
EQ In button has a bright LED above it.
The four EQ modes are selected on the lower soft keys.
Path
Level is the main channel fader. Shown as OFF if below -99dB.
BLUE + Touch
Level knob (or Fader) set level to 0 dB
Pan values percentage left/right or front/back of center.
BLUE + Touch
Pan LR knob set Pan LR to center
Spread applies only to Link Groups. It is a measure of how wide the elements are panned into the
Surround field.
Divergence measures how tightly signal is panned to one position.
Rotate allows a signal path or Link Group to be rotated in the Surround field.
Hold down the
ALT key for more functions.
Path – ALT
Level ON / MUTE is the main channel MUTE switch.
Solo main channel solo
Solo Safe
prevents path being muted when another is soloed.
Insert IN
needs physical insert send and return paths defined.
MAIN
assigns or deassigns path from MAIN system bus
Armed
path must be a Track and have a patched input
Bus 1 - 4 extra mode where path can be assigned to Sub-buses 1 to 4 on the upper soft keys.
Bus 5 - 8 as above for buses 5 to 8
Dyn
There are three modes for Dynamics. All three stages of Dynamics may be active at the same
time (except for buses, which have no Expander / Gate stage). To switch between modes,
ALT +
lower soft keys.
Mode 1. Compressor
Mode 2. Expander / Gate. To toggle between Expander and Gate,
ALT + Dyn Type soft key
Mode 3. Limiter
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Threshold, Ratio / Range and Makeup Gain controls at left and Hold, Attack and Release times at right.
Hold down the ALT key for more functions.
Dyn – ALT
For each mode, the IN / OUT switch is an upper soft key
The three Dynamics modes are selected on the lower soft keys.
Aux
There are three modes for Auxiliary send control. To switch between modes, ALT + lower soft
keys
.
Each mode handles 4 of the Aux sends.
Level is shown as OFF if below -99dB.
Pan values percentage left/right of center.
Hold down the
ALT key for more functions.
Press the
Path, EQ or Dyn buttons for their details.
Aux – ALT
The three Aux modes are selected on the lower soft keys.
Aux sends are Muted using the ON / MUTE button.
Path Copy
Overview
Path Copy allows you to copy all or part of the settings from one path to another.
It works by first copying the all the settings from a source path into the clipboard, then pasting
the desired parts into a destination path.
This guide shows you how to perform a Path Copy.
Get Ready
Press the green Mixer button.
Press the
Path Copy button.
Operation
Select the source path.
Press the
COPY soft key.
Select the destination path. Press one of the
Paste soft keys.
Library
Overview
Xynergi's library provides storage for groups of settings that you can recall at any time and apply
to any signal path.
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The library can be operated on screen with the mouse, or using the Pad soft keys. This guide will
show you how to do it with the mouse.
Get Ready
Press the green Mixer button.
Press the
Lib button.
Operation
To store a new library item, do the following on the Mixer screen:
Select the
source path by clicking on it. Click the path type (Track, Live, Aux-Bus etc) if
necessary.
Select the type of setting you would like to save (EQ, Dynamics, Whole Channel, Whole Console
or Plug-in). Click the
Save As button and supply a name. Press Enter
To overwrite an existing library item, select it and click the
Save button. Items are displayed at
the upper left.
To apply a library item, select the type of setting, select the item, select the
destination
path(s)
and click Apply.
Inserts
Overview
Inserts can be switched on and off in the Path display using the Pad Soft Keys (when holding
down the
ALT button, or when the Pad Lock mode is active).
Inserts are used for getting signals out of the system and back in again. They are also used to
place Plug-ins in a signal path.
The first step in working with an Insert is to set its physical input and output. This guide shows
you how to configure these, and how to insert plug-ins.
Get Ready
Press the green Mixer button.
Select the path whose inserts you wish to configure. Press the
Insert Config button.
Operation
To work on insert sends, press the Sends Returns toggle so that the > points to Sends. For insert
returns, do the opposite.
To set up the physical I/O for a send or return press the
Patch soft key. Operation is the same as
How To Recording Patch Inputs.
To insert a Plug-In, press the
Add Plug-In soft key, then use the Jog Wheel to scroll through the
list of available items. Press the
Add soft key to apply. The graphical controls for the Plug-in will
be displayed on the Edit Screen.
Plug-ins can be organised into a list of favourites by pressing the
Add to Fav soft key. Press the
Fave soft key to display only this list.
Press the
Plug Ins button at any time to toggle the Plug-ins editor
You can select another path while the Insert Config layout is active.
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Direct Outputs
Overview
Direct Output levels are controlled in the Path display.
This guide shows you how to configure the physical I/O for Direct Outputs.
Get Ready
Press the green Setup button.
Select the path whose inserts you wish to configure. Press the
Direct Config button.
Operation
Before you can work on a Direct Output, it must be given a physical output. To do this, press the
Patch Outputs soft key. Click Analog Outputs or Digital Outputs, choose an output, click
Patch. Operation is the same as How To Recording Patch Inputs
Press the
Patch Outputs soft key again to exit.
To change the gain of the Direct Output, press the gain soft key. Use the
Jog Wheel to change
the displayed number. This will be expressed as REL (relative) if more than one output is active
i.e. when a Link Group is selected. Press
Enter to apply.
The
ON/OFF toggle and the PRE/POST toggle are available once the output is defined.
Oscillator
The system oscillator is toggled on and off in the Mixer or Record Megamode, using the osc
button.
To set Oscillator frequency and level, use
Utils in the Setup Megamode.
To route the Oscillator to a bus, first
patch it to Talkback 2 on the Patch Screen (press patch in
the Mixer or Record Megamode), then connect Talkback 2 to the desired bus as follows:
Hold down BLUE and press
Talk
Select the
Bus(es) to be destinations for Talkback 2.
Press
Exit.
Noise Generator
The system noise generator is toggled on and off in the Mixer or Record Megamode, using the
osc button.
Patching the noise generator to any point in the system is done using the Patch page, in the same
way as for the oscillator.
Using Faders
Overview
Xynergi supports two types of external faders.
1. Fairlight Fader Side Car (12 faders). Xynergi will support up to two of these.
2. Mackie Control Extender Pro (8 faders). Xynergi will support one of these systems.
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You can create up to 9 Fader Sets. To learn about this, see
How to
Mixer9. Map Faders
This guide will explain more about using faders.
Get Ready
Faders are used in all megamodes. To play with the automation functions, you will need to be in
the Mixer Megamode. Press the green
Mixer button.
Press the
Mix On button to display automation functions.
Configuration
The system needs to “know” about connected faders. To set this up, use the mouse to access the
following:
Start
All Programs Fairlight Xynergi Utils Configure Xynergi
Select your configuration, then click
Configure Xynergi.
Fairlight Sidecar Operation
Pressing the CALL button on a Sidecar Fader brings its signal path to the Pad and the Fat Channel.
It behaves as though it is the most-recently-selected path. If it is a track this does not select it for
editing.
Pressing the
SOFT button adds or removes the signal path from the automation selection.
This means the channel will go into Write if the
IN button on the Xynergi controller is pressed (it
is available in the Mixer Megamode when Mix On is selected.)
The physical fader, Mute button, Solo button and panpot on the Sidecar affect only this signal
path. The Xynergi Pad Controls, on the other hand, affect the most-recently-selected path, or, if
MULTI is ON, all selected paths.
Similarly, the Fader's Auto button puts this path into Automation Write, while the Xynergi Auto
button does it for the most-recently-selected path, or, if MULTI is ON, all selected paths.
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Mackie Operation
Pressing the Select button on a Mackie Fader selects its signal path, like pressing its key on the
Xynergi Tactile Controller.
If MULTI is on, the signal path is added (or removed if already ON) from the selection. The
physical fader, Mute button, Solo button and panpot on the Mackie controller affect only this
signal path. The Xynergi Pad Controls, on the other hand, affect the most-recently-selected path,
or all selected paths if MULTI is on.
There is no button on the Mackie faders for putting the signal path into Automation Write. If the
path is selected, the Xynergi
IN button on the Mixer Megamode puts it into Write. The Xynergi
Auto button puts it into Write if it is the most-recently-selected path.
If MULTI is on, all selected paths are put into Write by the Auto button.
Map Faders
Overview
You can create up to 9 Fader Sets. Each of these is a mapping (or distribution) of signal paths to
the faders.
To select a Fader Set, turn on the
Fader Sets button (Numeric Keys glow violet or blue) and
select a number from 1 to 9.
If faders are properly configured using the Xynergi Configure application: Start
All Programs
Fairlight
Xynergi Utils Configure Xynergi, new projects will open with the Tracks and Live
Feeds nicely distributed over the fader sets.
You will need to create your own mappings for different types of projects. This guide shows you
how to map faders to a Fader Set.
Get Ready
Press the green Setup button.
Make sure the Fader Sets button is illuminated, and choose the fader set you wish to map.
Now press the
map faders button.
Operation
The system is mapping the Fader Set whose number is illuminated.
The picture keys show path names. Choose
Tracks, Lives or Buses (which include Fader Group
masters)
Select a path for the first fader. The fader displays the name of that path.
The selection point moves to the next fader. Continue with this process.
Return to any point in the mapping by pressing the
CALL button (or Select button for Mackie) on
a fader.
Press Exit at any time to complete the mapping, or press another Fader Set number to start
mapping that set.
Note: when you start mapping a second or subsequent set, the selection point may not start at
the first fader. Please map something to the selected one, then select or call the first fader to
bring the selection point back to it.
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Automation
Using the Pad to write Automation data
Overview
For writing automation data with the Pad, here is a check list:
Mix On must be lit (in the Mixer Megamode)
Select path(s) (the last one is shown in the Pad)
Enable at least one mix parameter (fader, mute, EQ etc)
Select Write (not Trim).
Select your On Stop setting.
Put the path into Write using the Auto Button (see Touch later).
Data is written while the transport is in play or record.
Stop writing by stopping the transport or pressing Auto.
This guide takes you through this process.
Get Ready
Press the green Mixer button.
Press the
mix ON button so that it is illuminated.
We will use Faders and Pans to illustrate writing automation data.
Press the
path button to access them.
Enable Parameter(s)
Press the Enable Params button.
In the enable layout, you choose parameters for writing automation data. When a path enters
Write (or Trim) only enabled parameters will have their values stored.
You can choose them individually, like EQ In, in groups, like EQ ALL, or choose everything with All
Params.
A second press of All Params will turn everything off.
For this How To, enable only
Fader and Pan.
If you are making a baseline pass for all paths, press
All Chans (but not for this How To).
Press
Exit to return to the Mix menu for the next item. Note that the Fader and Pan controls
have blue triangles next to them, showing that they are enabled for automation.
On Stop Setting
The ON STOP soft key controls what happens to automation values after you stop writing e.g.
when you press STOP during an automation pass. Press the soft key repeatedly to cycle through
the options:
Return the last value you wrote is ramped to the previous value of the parameter, using the
Glide Out Time (see Utils menu)
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Hold the last value you wrote is held until the end of the Project, erasing all following changes.
Event the last value is held until the next event i.e. change in value that you wrote previously,
using the Glide Out Time (see Utils menu).
Set the value you want.
Working With the Pad
Select signal path(s). Turn MULTI on if you want to change values on all the selected paths
simultaneously.
Press the
Write-Trim button until Write is selected.
Press
Play and then AUTO (or vice versa). The Level and Pan backgrounds go red and begin
writing values.
Move knobs, then press
Stop. Enabled controls go into read.
Press
Play Menu twice to review what you have just written.
Press the
Undo Pass soft key to remove the new automation data. Note: there is only one level of
undo.
Fader Control
Overview
The steps in working with faders are similar to working with the Pad, except that enabling the
path is done locally, on the fader itself.
This procedure applies to Fairlight sidecars, but not to Mackie faders.
Mix On must be lit (in the Mixer Megamode)
Select On Stop setting.
Enable at least one mix parameter (fader, mute, EQ etc)
Write or Trim can be selected with external faders.
Put each fader into Write using its own Auto button.
Operation
Perform the following from the previous section:
Enable Parameters
On Stop setting
Choose Write or Trim.
Press Play and then the Auto button on any fader (or vice versa). Fader knobs go red on the
Mixer screen. Level and Pan values begin writing.
Move controls, then press
Stop. Enabled controls go into read.
Press
Play Menu twice to review what you have just written.
Press the
Undo Pass soft key to remove the new automation data. Note: there is only one level of
undo.
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Touch write
Overview
Touch write allows you to begin writing just by grabbing a control. This pinpoints one specific
control to write, instead of a whole group. For example, you can write just the Frequency of EQ
Band 1, instead of all Band 1's controls.
Touch is exactly like pressing the
Auto button, but only on one control at a time.
Touch works on all Pad controls and on all external faders. On Fairlight Sidecars, it works on the
Pan Controls and Mute switches as well.
Get Ready
Press the green Mixer button.
Press the
mix ON button so that it is illuminated.
Press
Enable Params and enable faders and panpots.
Signal paths must be selected before their parameters are available for touch selection. Select one
or more paths. If you are using Faders, use the Soft buttons (on a Fairlight Sidecar) or the
SELECT buttons (on a Mackie).
In this item we will deal with manual touch options. Please toggle the
AutoTouchEn soft key OFF.
Please also see How To
Automation Touch AutoEnable.
Operation
Press the touch button (labelled touch off, touch latch or touch snap), and select one of the
following:
touch off Touch Write does nothing
touch latch Touching an enabled control puts it into Write. It continues writing after you let
go, for the whole automation pass.
touch snap Touching an enabled control puts it into Write. Releasing the control puts it into
Read immediately.
Choose
latch or snap. Enabled parameters in the Pad now show a red triangle.
Touch one of the controls you have enabled. It goes into Write. (Use the OUT button or the All
Read
soft key if you wish to get controls out of write before the transport starts moving.)
Press the
Play button and touch controls to put them in and out of Write.
Touch AutoEnable
Overview
Auto Touch Enable simplifies Touch Write by enabling a path as soon as you touch one of its
controls.
So all you have to do is enable the parameters you want to write. Then put the transport in Play,
and any enabled control will go into Write as soon as you touch it.
The ultimate version of this: Enable all parameters, and then touch any control in the system to
automate it. WARNING: this is dangerous, because nothing is protected from being over-written.
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Note: you can use Auto Safe to protect paths. You can also use Isolate to completely remove
paths from the Automation system. See How To
Automation Isolate.
Get Ready
Press the green Mixer button.
Press the
mix menu button.
Press the
mix ON button so that it is illuminated.
Press
Enable Params and enable faders and panpots.
Signal paths must be selected before their parameters are available for touch selection. Select one
or more paths. If you are using Faders, use the Soft buttons (on a Fairlight Sidecar) or the
SELECT buttons (on a Mackie).
Toggle the
AutoTouchEn soft key ON.
For non-Auto Touch write, please see How To Automation Touch Write.
Operation
Press the touch button (labelled touch off, touch latch or touch snap), and select one of the
following:
touch off Touch Write does nothing
touch latch Touching an enabled control puts it into Write. It continues writing after you let
go, for the whole automation pass.
touch snap Touching an enabled control puts it into Write. Releasing the control puts it into
Read immediately.
Choose
latch or snap. Enabled parameters in the Pad now show a red triangle.
Touch one of the enabled parameter controls on any path, or any external fader. It goes into
Write. (Use the All Read soft key if you wish to get controls out of write before the transpor t
starts moving.)
Press the
Play button and touch controls to put them in and out of Write.
Automating Plug-ins
Overview
Plug-in parameters are no different from those of any other processing block, except for one thing
– enabling them.
The names and types of plug-in parameters vary according the manufacturer and product, so the
enabling cannot be done from a dedicated layout. For this reason, you must use touch to enable
plug-in parameters. Here’s how you do it.
Get Ready
Press the green Mixer button.
Press the
mix ON button so that it is illuminated.
Press the
mix menu button.
Press the
auto enable soft key so that it is illuminated.
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Press the touch button so that it reads Latch or Snap.
Load a plug-in as follows:
Press the
plug ins button.
Press the
Add Plug soft key.
Use the
Jog Wheel to roll through the list of plug-ins, then press the Add soft key to load one.
If desired, press the
plug ins button again to place the graphics in the Pad.
Operation
Press the play button.
Grab one of the Pad controls affecting the plug-in parameters, and change its value. Its pad area
will go red, indicating Write status. Alternatively, grab the on-screen control and move it with the
mouse. The result is exactly the same.
Continue to write parameter values until happy with the results, then press the
Stop button (or
any other transport button). The pad area should now go green, indicating Read status.
To review your results, press the
Play Menu button twice.
Auto Punch
Overview
Auto Punch performs an automation pass, pre-rolling, then punching in and out at the Range start
and end points. In brief:
Set up to record automation data in the usual way (see How To Automation Pad
Control)
Create a range
Press
Active IN and/or Active Out.
Press
Auto Punch.
Note: Without Active IN pressed, the system will still preroll the Range start. You can then punch
into Write manually with the
Auto button, and the system will punch out automatically.
Without Active OUT pressed, the system will preroll and punch in at the Range start. Press
STOP
manually to go back into Read.
Operation
Select paths
Enable faders and pans
Set On Stop setting
Press the
Path button to acess faders and pans.
Choose
Write or Trim. Trim is only used with physical faders.
Locate to the desired IN point and press
From.
Locate to the desired OUT point and press
To.
Press Active IN and/or Active Out. They light up in red.
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Press Auto Punch to perform the automation pass
Preview
Overview
Preview is a system mode that allows you to suspend automation Read for particular controls
while you find new settings for them.
After finding the new settings you can punch them into the track, or fill a range with them.
Before using preview you must:
Enable paths.
Enable parameters.
Engage Preview.
Press the
AUTO button to put the enabled items into Preview.
This guide shows preview in detail.
Get Ready
Press the green Mixer button.
Press the
mix menu button.
Press the
mix ON button so that it is illuminated.
Operation
To enable signal paths, select them.
Press the param enable button and select faders and pans. Press exit.
Press
preview. The preview button pulses. The AUTO button on Xynergi or on a Fairlight Sidecar
will now put its corresponding path into Preview mode.
Press
AUTO. The Level and Pan backgrounds go yellow, indicating that those parameters are in
Preview.
You can now move these controls, which would not be possible if they were in Read. The
punch
IN
command also becomes available. This takes the system from Preview to Write.
Having obtained the settings you want, use
punch IN, auto punch or fill range to write those
values to the automation. In the first two cases (punc h in and auto punch) the previewed values
will start writing when you first punch in, but you can change them freely afterwards. See below
for more information about
fill range.
Join
Overview
Join allows you to “carry” parameter values from one place to another.
In brief:
Write some data into the automation
Locate to another timecode.
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Press the Join soft key and continue writing with the same values as when you last
stopped.
Details
Whenever the system comes out of Write mode, it remembers the values of all the parameters
that were being written.
Pressing Join causes the system to re-enter Write mode, and also to assert all the remembered
values. This is useful for setting a scene or section balance as follows:
Starting writing automation anywhere in a scene or section.
Adjust parameters until you are happy with the sound.
Now go back to the head of the scene and press {Join} then
Play.
Write Recalls
Overview
Used with the Library and touch settings, to make presets trigger the automation.
When {Write Recalls} is toggled on, any enabled parameter that changed by loading a Library
preset behaves as though physically touched. This means that, if Touch write is on and the
parameter is enabled for the relevant signal path, it will go into Write.
This is a handy way of writing snapshots into the automation, like this:
Create a series of snapshots (presets) of the whole console, containing mixes of different
sections of the project. To save a preset, press
Mixer Megamode Lib Console
Save, then give your preset a name.
Prepare to record automation by enabling all the parameters in your snapshot, turn on
Touch AutoEnable in the Mixer Menu, and turn on Touch Latch in the Mixer Megamode.
Locate to the timecode where you want to write a snapshot.
Turn on the
Write Recalls soft key.
Press Lib Console, click the snapshot you want at this timecode and click
Apply. The
system will go into Write with your snapshot loaded. Press
Play and then Stop to write
the values. Now move to the next timecode and repeat this step.
Fill Range
Overview
Fill Range converts Previewed parameters into Written parameters across the range, as though an
instant automation pass had been performed.
In brief:
Put paths into Preview
Change the values of enabled parameters
Make a range
Press the
fill range soft key to write the new values over the range.
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Get Ready
Press the green Mixer button.
Press the
mix menu button.
Press the
mix ON button so that it is illuminated.
Details
Enable a path by selecting it.
Press
enable params and select faders and pans. Press exit
Locate to the desired IN point and press
From.
Locate to the desired OUT point and press
To.
Press Preview to toggle it on. The preview button pulses. The AUTO button on Xynergi or on a
Fairlight Sidecar will now put its corresponding path into Preview mode.
Press
AUTO. The Level and Pan backgrounds go yellow.
Change the static values of Level and Pan as desired.
Press the
fill range soft key.
Note:
Write / Trim has no effect. Values are always written by fill range.
Isolate
Overview
Isolate is a way of disconnecting the automation from selected signal paths.
When a path is isolated, all its controls are manually operated, and no automation data can be
written for them.
Get Ready
Press the green Mixer button.
Press the
mix ON button so that it is illuminated.
Operation
Pressing isol brings the SEL display to the screen.
Any path you select will be isolated from the Automation system.
You may need to select
Tracks, Lives or Buses first, then press the path buttons that you want
to isolate.
Press
exit to return to the Mix menu
Auto Safe
Overview
Auto Safe prevents signal paths from entering Write or Trim.
Safe paths still Read their automation data, if any exists.
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Get Ready
Press the green Mixer button.
Press the
mix ON button so that it is illuminated.
Operation
Pressing auto safe brings the SEL display to the screen.
Any path you select will be safe from changes to Automation data.
You may need to select
Tracks, Lives or Buses first, then press the path buttons that you want
to isolate.
Press
exit to return to the Mix menu.
Files
Overview
Automation data is treated separately from other Project files.
This guide shows you how.
Get Ready
Press the green Mixer button.
Press the
mix ON button so that it is illuminated.
Press the
file button.
Operation
The file menu uses a list of files shown in the Pad. Use the file menu soft keys as follows:
System Mix if YES, saves the current mix with the Project. This includes a statix mix, plus the
most recent version of the automation i.e. the one currently in memory (if any).
Sort determines the display order of mix files
Save Press this soft key, then type a name and press ENTER.
Load Loads the mix currently showing in the Pad list.
New Mix Zeroes all automation data
Delete Removes the mix file currently showing in the Pad.
Carry Over lets you load a new Project with the current mix
Automation Curves
Automation data for tracks can be shown on the Edit Screen using the following command
sequence:
ViewSmart PaneAutomation, or by pressing the
Curves soft key in the Mix Menu.
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To display automation curves on one or more tracks:
Step 1 Select the tracks where the automation is to be displayed
Step 2 Click the
Display button
Step 3 Select the parameter to be displayed – use either the pull down menu or a preset
Note that each track may show its own selected parameter. The Display button is also used to
turn the curves off.
Presets
Presets are used to quickly access a particular parameter. The first six buttons are provided with
factory presets, but you can replace them with your own.
To apply a preset, simply click on it when the Display button is selected.
To create a preset:
Step 1 Turn the
Display button on if necessary
Step 2 Select a parameter to be displayed using either the pull down menu
Step 3 Click the Save button
Step 4 Click a preset button
Step 5 The system will request a name for the preset. You may use the suggested name or
choose your own.
Click to toggle
automation
graphs on or off
Click to remove
automation
display
parameter
Pull down menu
of automation
display
parameter
Preset controls Edit Controls
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The Curve Display
Automation data is shown as a green line, with the name of the parameter to the right of the
cursor.
For switched parameters like Mutes, the line is shown high when the channel is on, and low when
it is muted, as shown below.
When writing automation, the graph is shown in red. Existing automation data is sh own in green,
allowing you to target punch out points easily.
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Note that, in this case, the red line continues past the cursor. This shows accurately what will
happen when Write is exited, because the system On Stop setting is EVENT, meaning the current
value will be held until the next change in automation value.
Here is how it looks when On Stop is set to HOLD:
In this case the red line continues at the same value to the end of the screen, because this value
will be written to the end of the project.
Editing Automation Curves
Automation data can be edited graphically using the mouse. To do this, click the Edit button.
There are two ways to edit, Events and Draw.
Events
To edit Events, click on the Events button.
Events are shown as red squares. Note that each event is a value of the parameter. After an
event the value stays constant until just before the next event, when it ramps up or down to the
next value. When events are close together, as shown above, they are joined by a smooth line,
reflecting this ramp. Otherwise the values are held constant and shown with a horizontal line.
While Events are displayed you may do any of the following:
Move an individual event with the mouse.
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You may change the event value (move up or down) or its timecode (move left or right).
The timecode position is bounded by the next and previous events.
The timecode and current value of the event are shown in the Automation Edit group of
the Smart Pane.
Select one or more events by making a box (marquee) with the mouse. Selected events
may be:
Dragged up and down or left and right. Left and right movement is bounded by
the next and previous events. The value of the highest point is shown in the
display above.
Deleted using the Del key
Create a new event by clicking where there is currently no event.
Combine moving and creating by clicking above or below the line. If there is no point at
the timecode where you clicked, one will be created, but if there is one within a quarterframe of where you clicked, it will be raised or lowered to your mouse position.
Drawing
Drawing allows you to create automation data using the mouse. To begin drawing, click the Draw
button.
Now click and drag on any selected track to create or replace automation data.
Undo
Automation changes made by editing or redrawing can be undone by pressing the Undo Mix
Pass
soft key in the Mix Menu.
There is only a single level of Undo, so only the last change you made can be reversed.
Editing
Cut and Paste
Overview
In this menu, we cut audio to the clipboard, then paste it using the Enter key.
The cutting action is performed by the
cut head, cut tail and cut clip (or cut range) buttons.
Note: copy and paste is performed exactly the same way as cut and paste, except that you start
by pressing the
copy mode button instead of the cut mode button.
Note:
erase is similar to cut (without the paste) except that the clipboard is not used.
To use this Help item, you need to load a Project containing clips. The system comes with a demo
project. To load it, consult the following Xplain item: How to Files Load Demo
Get Ready
Press the green Editor button.
Press the
cut button to access the Cut menu.
Press the
range key to turn it OFF.
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For help with ranges, see How to Editing Using ranges
Operation
Locate the transport so that the cursor crosses the middle of (at least) one clip. Identify the track
containing that clip, and double-press its button to make it the only selected track. (If necessary,
use the
Bank key.) The target clip should now be the only red clip on the screen. Red means
ready to edit.
Press the
cut clip button. The clip is now on the clipboard. Move the transport. The clip's
"ghost" shows where it can be pasted. Press another track number. The ghost moves to the new
track. Press
Enter to paste the clipboard contents (once or many times).
Now press
cut head (or cut tail). The front (or back) of the clip is now on the clipboard. Press
Enter to paste the clipboard contents.
Using Ranges
Overview
A range is the time span between two points, called the IN and OUT points, or the From and To
points.
When a range is present, the button labelled
cut clip or copy clip, erase clip etc. changes to
cut range, copy range, erase range. In this situation, the basic editing commands, cut, copy,
and
erase, target the parts of clips that lie inside the range.
Some other commands, like
Nudge, Fade and Clip Level, target only whole clips that lie inside
the range.
Pressing the
range button toggles the range on and off.
Get Ready
Press the green Editor button.
Press the
cut button to access the Cut menu.
Press the
range key to turn it OFF.
Operation
Locate the transport so that the cursor crosses the middle of (at least) one clip. Identify the track
containing that clip, and double-press its button to make it the only selected track. (If necessary,
use the
Bank key.)
Press
from. A range is begun at that point. Now Jog to the right. The range is extended, and the
clip goes red inside it. Press
to. The range is now fixed.
Investigate
cut range, cut head, cut tail (use undo in between).
From and To Menu
Now hold down the from button
If you now pressed the
mark soft key, the system would display a list of marks that you could
choose as the from point.
Instead, press the
time soft key. Now use the Numeric Keypad to type a timecode from point.
The numbers will be displayed over the Edit Screen. Now press
Enter to lock in your from point.
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Razor Cuts
Overview
Normal (non-razor) editing targets red clips, but does not affect other clips. This works well for
video-based editing where the sound is synchronised to fixed picture frames.
When working on radio spots, interviews and music pieces, we sometimes need to cut time as
well as audio. This is just like people used to do on tape.
The razor mode causes time to be manipulated as well as audio.
When you cut audio, the time it occupied is removed from the track, and everything afterwards
moves earlier.
When you paste audio, the time it occupies is inserted into the track, and everything afterwards
moves later.
Razor editing always uses a range.
Get Ready
Press the green Editor button.
Press the
cut button to access the Cut menu.
Operation
Locate the transport so that the cursor crosses the middle of (at least) one clip. Identify the track
containing that clip, and double-press its button to make it the only selected track. (If necessary,
use the
Bank key.)
Create a range within the clip using
from and to. (For help with this, see How to Editing
Using ranges)
Press
razor. Press cut range. The width of the range is cut out of the track, like a piece of tape,
and downstream clips move forwards. Investigate
cut head and cut tail (use undo in between).
Move inside another clip and press
Enter. The clipboard is pasted, and the time it occupies is
inserted into the track, like splicing tape.
Trimming clips
Overview
A clip is the visual representation of a real piece of recorded audio, located on hard disk. Editing a
clip means changing which part of the recorded audio is played.
When cutting or erasing parts of a clip, you are reducing the amount of accessed audio.
Trimming a clip also means changing which part is accessed, but you can increase or decrease the
length that is played. This is done by relocating the clip's
head and tail , thereby exposing more
or less of the stored audio.
Get Ready
Press the green Editor button.
Operation
Press the trim button. If the word slip is highlighted, press it again so that trim is highlighted.
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Locate the transport so that the cursor crosses the middle of (at least) one clip. Identify the track
containing that clip, and double-press its button to make it the only selected track. (If necessary,
use the
Bank key.)
Press and release
trim head. The head of the clip is trimmed back to the cursor location. Jog
back a bit and press
Enter. The head is extended to the new position.
This time, press and hold
trim head. The system exposes the whole head of the original
recording. While holding down
trim head, Jog over the exposed audio and choose where to trim
it. Release
trim head when ready. The clip is trimmed to your current position.
Slipping clips
Overview
Slipping clips is an alternative to Cut and Paste (see How to Editing Cut n Paste). It has the
advantage of leaving the clipboard undisturbed, but does not allow moving clips to other tracks.
We can also
slip the sync of a clip. This means that the clip stays in the same place, but the
audio inside the clip slips earlier or later. This means exposing a different portion of the original
recording.
Note: another quick way to slip a clip is to drag and drop it with the mouse. You can drag it to
another track as well. Holding down the SHIFT key holds sync while you drag to another track.
Get Ready
Press the green Editor button.
Operation
Press the trim / slip button. If the word trim is highlighted, press it again so that slip is
highlighted.
Locate the transport so that the cursor crosses the middle of (at least) one clip. Identify the track
containing that clip, and double-press its button to make it the only selected track. (If necessary,
use the
Bank key.)
Press
slip clip. Jog forward by about one second and press Enter. The clip moves by the
distance you jogged. Jog some more and press
Enter again. You can keep doing this.
This time, press and hold
slip clip. Keep holding it down, Jog forward, then release. This is a
faster way of doing the same thing.
Press the
Sync Point soft key. Now, when you Jog and press Enter, the audio inside the clip is
slipped.
Track Selection
Overview
Most editing operations work on multiple tracks at the same time.
All the red clips or parts of clips are affected.
This guide will show you how to select tracks.
Get Ready
Press the green Editor button.
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Operation
The picture keys display 12 tracks while the Editor Megamode is active. Press a Track button to
toggle it in and out of the Track Selection. Use
Bank Up and Bank Down to access blocks of 12
tracks.
To select just one track, double-press its button.
To select a range of Tracks, hold one Track button down and double-press another.
To slide the current track selection up and down, hold the
Track Up/Down button, and turn the
Jog Wheel.
For a wider track selection, press
SEL.
Sel Operation
In SEL mode, the picture keys display 48 tracks. Use Bank Up and Bank Down to access another
block of 48.
You have the same selection methods e.g. using double-press, as in the normal Edit Megamode.
SEL mode has two ways of working: momentary or latched.
For latched mode, press and release
SEL. Make your selection of tracks, then press exit.
For momentary mode, press and hold
SEL. Make your selection of tracks, then release SEL.
Fade and Crossfade
Overview
In the fade menu we can place level ramps at the begining (fade-in) and end (fade-out) of each
clip. A fade-in starts from silence and ends at the full level of the clip, and a fade-out does the
opposite.
Crossfades between two clips are created by first layering one clip on top of another, then putting
a fade in the upper clip. This induces a complementary fade in the lower clip.
For clarity while reading this Help item, turn on Display Layering by clicking
View Display
Layering
above the Edit Screen.
We can also control the fade profile i.e. its shape, using the X-Level and X-Point parameters. To
find out about these, use Button-Help i.e. hold down the
Xplain key and press the appropriate
Soft Key.
Get Ready
Press the green Editor button.
Operation
Press the fade button.
Locate the transport so that the cursor crosses the middle of (at least) one clip. Identify the track
containing that clip, and double-press its button to make it the only selected track. (If necessary,
use the
Bank key.) The target clip should now be the only red clip on the screen. Red means
ready to edit.
Press the
fade head button. The clip now fades from its beginning to the cursor position. Move
the transport a little to the right and press
fade tail. These two commands are used to create
most simple fades. Press
UNDO (this will simplify the next step).
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Now press the copy button.
Locate to the middle of the clip where you placed fades. Press the
copy clip button.
Now
jog about half the clip's length to the right and press Enter. You have pasted a copy of the
clip on top of itself.
The beginning of the newly-pasted clip now interacts with the clip underneath, inducing a
crossfade. You can see the line of the crossfade in the lower clip. Move the top clip backwards
and forwards to see how the fades interact. Also, go back to the Fade Menu and experiment by
changing the fade-in point.
Fades are explored in much more detail in the chapter called Editing.
Clip EQ
Overview
The clip eq menu allows you to add a four-band equalizer to every clip.
The display of clip eq is shown in the Clip EQ Smart Pane, above the Edit Screen. This comes on
automatically when you enter the clip eq menu.
In Clip EQ only one track is active. Even if many tracks are selected, only the most-recently
selected will be affected. This track has a blue label in the Edit Screen.
Clip EQ does not use a range.
Get Ready
Press the green Editor button.
Operation
Press the clip eq button.
Locate the transport so that the cursor crosses the middle of (at least) one clip. Identify the track
containing that clip, and double-press its button to make it the only selected track. (If necessary,
use the
Bank key.) The target clip should now be the only red clip on the screen. Red means
ready to edit.
Press the
edit soft key. At the top of the Edit Screen, the value grid shows the EQ parameters of
the red clip. Press a
number in the Numeric Keypad to access the same position in the value grid.
Now use the
Jog Wheel to change it. You can hear the changes by playing over the clip. Hint:
while over the clip, hold
loop and press the clip soft key.
When all parameters are set, press the
apply soft key or Enter
Clip EQ is explored in much more detail in the chapter called Editing.
Acceleration
Overview
Normal cut and paste can go much faster using modifier keys.
The modifier keys are: ctrl, SHIFT, Track and Zoom. To increase your speed, practise using t h em
with your left hand, while your right hand uses the Jog Wheel and the Clip, Head and Tail keys.
Get Ready
Press the green Editor button.
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Press the cut button.
Please press the
range button until it is OFF.
Operation
Getting the right location, track selection and view use at least half of your editing time. This can
be speeded up as follows:
Jog Speed: hold down
Ctrl or SHIFT or both to jog ever faster.
Track Selection: hold down
Track up/down while jogging.
Time Zoom: hold down
Zoom while jogging.
Track Zoom: hold down
Ctrl and Zoom while jogging.
Locate the transport so that the cursor crosses the middle of a clip. Make its track the only
selected one. (If necessary, use the
Bank key.) The target clip should now be the only red clip on
the screen. Red means ready to edit.
- Hold down
Track and press cut clip / head / tail. Keep holding while turning the Jogger
Wheel to move to another track. Release
Track to drop the cut clip.
- Press and hold
cut clip. Jog forward and release cut clip to drop the cut clip. You can do the
same with
copy, slip and trim.
These moves feel awkward at first, but remember your first mouse click-and-drag? With practise
you'll become a virtuoso editor!
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The Numpad
The Numpad, or Numeric Keypad, is the center of a great deal of Xynergi activity. This chapter
explains how to use it, and gives more detail about its surrounding keys.
Parameter Entry
Often you need to enter a numerical value. This is normally terminated by pressing the Enter key.
The Jog Wheel and the
+ and – keys can often be used to raise or lower a value. [In the picture
they are swapped. Sorry.]
Loc and Set
The system maintains three Locators. They are very useful for quic k marking of positions and
returning to them. They are not saved with projects, nor remembered between sessions.
The
Set and Loc buttons are used to store and retrieve these locators. They can be used in both
momentary (hold down) or latched (press and release) mode.
To store the current timecode into a location (momentary mode):
Step 1 Hold down the
Set button
Step 2 Press the
1, 2 or 3 button
Step 3 Release the
Set button
The same thing in latched mode:
Step 1 Press the
Set button
Step 2 Press the
1, 2 or 3 button
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