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User Manual
HD96-24-CC-TP
Live Digital Console Control Centre with 144 Input Channels,
120 Flexible Mix Buses, 96 kHz Sample Rate, 21" Touch Screen and
Touring Grade Road Case
V 2.0
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Table of Contents
HD96-24 Overview ......................................................... 8
Chapter 1. Introduction ................................................ 8
About this Manual ...................................................................... 8
Training ......................................................................................... 8
System Firmware Version ....................................................... 8
Touchscreen ................................................................................. 8
Warranty and Registration ...................................................... 8
Service and Support .................................................................. 8
Commonly Used Terms and Denitions ............................. 8
Chapter 2. HD96-24 Overview ...................................... 9
Introducing the HD96-24 Digital Mixing System. ........... 9
Overview ....................................................................................... 9
Key features .................................................................................. 9
Applications ............................................................................... 10
System Components ............................................................. 10
System Busses ............................................................................ 10
Processing ................................................................................... 11
Audio Physical Connections ................................................. 12
Network ....................................................................................... 12
mCloud Network ...................................................................... 13
HD96-24 software .................................................................... 13
Graphic User Interface (GUI) ................................................. 13
System Card Expansion .......................................................... 13
Chapter 3. System Setup ............................................. 14
Initial set-up procedure .......................................................... 14
Unpacking the equipment .................................................... 14
Ventilation ................................................................................... 14
Racking the I/O .......................................................................... 15
Connection instructions ........................................................ 15
System components ................................................................ 16
Powering the system ............................................................... 18
Switching on the HD96-24 .................................................... 18
To switch o the HD96-24 surface...................................... 18
Setting up the ID of the unit(s) ............................................18
To set up the ID of a I/O unit ................................................. 18
I/O Box Update .......................................................................... 19
Connection to the internet ................................................... 19
Chapter 4. Before You Start ........................................ 25
Principles of operation ...........................................................25
Operating modes .....................................................................25
Hints and tips ............................................................................. 25
Setting up a User Prole .......................................................25
Saving your work ......................................................................26
Saving a show versus storing a scene ............................... 26
Shutting Down the Control Surface Correctly ............... 26
mCloud system ......................................................................... 27
mCloud support ........................................................................ 27
Initial Setup ................................................................................. 28
Setting up a User Prole .......................................................28
Safe Mode ...................................................................................30
Chapter 5. About the Control Surface ....................... 31
Overview of the Control Surface ......................................... 31
Control Surface Layout ........................................................... 31
Channel strip layout................................................................. 32
Global Assignable Shortcuts ............................................... 33
Channel Detail Area ................................................................. 34
Front and rear panel connections ...................................... 34
External interfaces and peripheral devices ....................35
Chapter 6. Navigation ................................................36
Navigating via the surface detail area ............................... 37
Navigating via the GUI Menu Bar ......................................43
Side Bar Menu ............................................................................44
Widgets and Rotary Controls ............................................... 45
Workow Modes Overview ..................................................46
Overview ...................................................................................46
Side Bar Pop Op Display ......................................................... 47
Tags and Pops ............................................................................48
Clipping Channels .................................................................... 48
Bus Setup and Outputs Management .............................49
Meter Bridge .............................................................................50
Channel View ............................................................................. 51
Console View .............................................................................. 52
FOH View ..................................................................................... 53
Automation View ......................................................................54
Navigating via Touch Screen Faders .................................. 55
Hardware Connections ........................................................... 20
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Navigating via the Layer Overview/
Channel Strips area .................................................................. 56
Navigation via Global Assignable Shortcuts area ......... 59
Navigation via Pinned Fader and
Assignable Controls ................................................................. 59
Flip Mode ..................................................................................... 60
One Shot Pot .............................................................................. 60
Clipped Channels, fault nding a problem channel .... 61
Console Layout Conguration (Navigation) ................... 62
Creating a Custom Layout ..................................................... 63
Chapter 7. Patching .....................................................65
Introduction .............................................................................. 65
Terms used in patching: ........................................................ 65
About the Patching screen ................................................... 66
Adding new I/O Devices ........................................................67
Conguring the I/O rack devices ........................................68
To edit an I/O device: ............................................................... 68
Removing I/O Devices .............................................................68
Internal Patch Points ................................................................ 69
Internal Patching Destinations ............................................ 69
Internal FX ................................................................................... 70
CM-1 Port Patching .................................................................. 71
Patching tips ...............................................................................71
Channel Detail and Action Area .......................................... 73
Chapter 8. Basic Operation ......................................... 74
Scene and show management (Automation) ................ 74
Clear the Console ......................................................................74
Saving and Loading show les to a
USB memory stick ................................................................... 75
Linking & Stereo (Outputs) ...................................................90
Patching (Outputs) ..................................................................90
Direct Input ................................................................................. 91
Options ....................................................................................... 91
Oscillator (Output Widget) .................................................... 92
Setting the HPF and LPF .............................................................92
Input equalisation ................................................................... 93
True Audition ............................................................................94
Output processing ..................................................................94
Input Dynamics Processing (Dynamics Section) ........... 95
Using VCA & POP groups .......................................................98
How to congure a VCA/POP group: ................................99
Alternative way to assign VCA/POP groups ..................100
Routing to master stereo outputs ....................................100
Manchino Multi Edit Page (Basic introduction) ...........100
Security (locking mode) ....................................................... 101
Chapter 9. Stereo Linking ......................................... 102
Input Linking & Stereo page ...............................................102
Aux Linking & Stereo page ..................................................103
Linking the Master Channels ..............................................10 4
Chapter 10. Panning .................................................105
Stereo panning ........................................................................105
Chapter 11. Soloing ...................................................106
Solo Button Functions ..........................................................106
Using Solo A/B ......................................................................... 107
Solo Hierarchy ..........................................................................108
VCA Solo ....................................................................................108
Solo In Place (SIP) ....................................................................108
Saving and Loading show les to the mCloud ............ 76
Save & Mark ................................................................................77
Rollback ........................................................................................ 77
Load Options ..............................................................................78
Automate patching preferences: ........................................78
Naming Page .............................................................................. 79
Channel Tags ..............................................................................82
Channel Conguration (Cong) .......................................... 84
Setting a Pre-Amp’s input gain............................................ 85
Linking & Stereo ........................................................................ 86
Patching ...................................................................................... 87
Direct Output ............................................................................88
Options ........................................................................................ 88
Conguration Pages for Outputs ........................................89
Solo Management ..................................................................109
Solo System Conguration ................................................. 110
Sources ....................................................................................... 110
Summing ................................................................................... 110
Solo System .............................................................................. 111
Chapter 12. Chapter 12: Muting ............................... 112
Chapter 13. Monitors and Shout Conguration ..... 113
Monitor Conguration (A and B) ......................................113
Delay ..........................................................................................114
Talkback Ducker and Limiter .............................................. 114
Talk and Oscillator Conguration Page .......................... 115
Talk Osc Routing...................................................................... 115
Oscillator .................................................................................... 116
Shout Mixer Conguration ..................................................116
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Matrix Mixer .............................................................................. 116
Shout Inputs ............................................................................. 117
Shout Outputs ......................................................................... 118
Assignment Page ....................................................................12 0
Presets ........................................................................................121
Chapter 14. Graphic EQ (GEQ) .................................. 122
Overview of the GEQs ........................................................... 122
Features ......................................................................................12 2
Controls ......................................................................................123
Proportional-Q Vs Constant-Q Response ......................124
GEQ Filters ................................................................................ 124
GEQ Patching ........................................................................... 124
Chapter 15. Internal Eects ......................................125
Eects overview ...................................................................... 12 5
Working with channel inserted eects .......................... 126
Eects Browser ....................................................................... 127
Eect Rack ................................................................................. 128
Eect Sub-slots ........................................................................130
Dual Band & Brickwall limiter. ............................................166
Midas U Flange ........................................................................175
Midas U Phase .......................................................................... 176
Pitch Shifter ..............................................................................177
Chorus.........................................................................................178
Rotor Motor ..............................................................................179
Distortion/Exciter: .................................................................. 181
Enlightenment Bass ...............................................................181
Glow ............................................................................................182
Tape Saturation .......................................................................185
UNCL.HD MULTIBAND DISTORTION ................................186
M Harmonics ............................................................................188
Chapter 16. Talk and Mute Groups .......................... 189
Talk Groups ..............................................................................189
Mute groups .............................................................................19 0
Using copy and paste ............................................................192
Copy and Paste rules and restrictions ............................. 192
Channels Versus Scenes ....................................................... 193
Eects Rack Safes ................................................................... 130
FX Mode ..................................................................................... 131
Eect Programs ....................................................................... 133
Reverbs: ......................................................................................133
TC Electronic VSS4 Reverb ...................................................137
TC Electronic VSS3 Reverb ................................................... 141
TC M350 .....................................................................................143
Ambience Reverb ...................................................................144
Vintage Room Reverb ...........................................................145
Chamber Reverb .....................................................................146
Hall Reverb ................................................................................ 147
Plate Reverb ..............................................................................148
Delays: .........................................................................................149
Midas Delay .............................................................................149
Stereo Delay ............................................................................150
TC 2290 Delay .........................................................................151
KT 1176 Limiting Amplier...................................................155
KT Bus Compressor ................................................................15 6
Copy and Paste Parameters ................................................ 193
About the Assignable Rotary ............................................ 194
Controlling the Assignable rotary controls ................... 195
Pinned Channels ..................................................................... 195
Flip Target ..................................................................................196
Global Assignable Shortcuts .............................................198
Assignables Types: Automation ....................................... 200
Assignables Types: Groups. .................................................201
Chapter 19. Automation (Scenes and Shows) ........202
About Automation .................................................................202
Master Scene ............................................................................202
Auto-save .....................................................................................202
To create or manage a show: ..............................................203
Automation controls .............................................................204
Scene Creation and Recall ...................................................204
Playlists .......................................................................................205
Safes ............................................................................................205
Scene Equaliser True Audition Preview ..........................206
R-Comp ......................................................................................157
Smart Dynamics Processor..................................................159
Dual De-Esser ........................................................................... 161
DSR De-esser ............................................................................ 162
PIE (Prime Input Expander) .................................................164
Stressor Compressor ..............................................................165
Chapter 20. Show Editor
(Recall and Store Scope) ............................................ 207
About the Show Editor ........................................................207
Parameters Mode Overview ...............................................208
Recall Scope Mode ................................................................209
Store Scope Mode ................................................................. 210
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Chapter 21. Events (Automation) ............................. 211
About Events ............................................................................ 211
About the Edit Event window ............................................ 212
MIDI ............................................................................................. 213
Chapter 22. Crossfade Events ................................... 214
Chapter 23. TBC ......................................................... 216
Chapter 24. File Management .................................. 217
Show Manager .........................................................................217
Preset Manager .......................................................................218
Spreadsheet Import ...............................................................219
Chapter 25. Multiple Consoles and Other Devices .221
Sharing A and B mic preamp inputs ...............................221
Ultranet ......................................................................................221
Using External USB Equipment .........................................222
Using External Displays .......................................................222
Chapter 26. Preferences
(Console Conguration) .............................................223
Monitor Conguration .........................................................223
Talk & Oscillator Conguration .........................................225
Solo Bus Conguration ........................................................226
DSP Conguration ..................................................................227
Clocking ....................................................................................228
Metering Preferences ............................................................228
Redundancy .............................................................................228
Spectrum Analyser .................................................................228
Hardware Conguration ......................................................229
General Conguration ..........................................................232
License Information ...............................................................233
Console Registration .............................................................233
Network Conguration .......................................................234
Time Zone Conguration ....................................................236
Chapter 27. Delay Compensation (Latency) .........237
To access the delay compensation options ..................238
Insert compensation .............................................................238
GUI Delay Compensation Presets ....................................239
Master to Matrix Post-Processing ....................................240
Chapter 28. Panel Connections ................................ 241
Front Panel Connections .....................................................241
Rear Panel Connections .......................................................242
Chapter 29. Inputs ....................................................243
Input channel routing ..........................................................244
Input channel areas of the control surface ..................245
Input Widget Area ................................................................245
The following processing sections are available:........246
Channel View Workow .......................................................249
Side Bar Area ............................................................................250
Channel View ...........................................................................251
Sends Overview ......................................................................252
Send Detail Area .....................................................................253
Input channel delay .............................................................. 253
Aux return mode.....................................................................254
Eects Insert .............................................................................254
Input Metering ........................................................................255
Input Inserts .............................................................................256
Options - Processing Order .................................................257
Safes ...........................................................................................258
Mic Amp Input Gain ..............................................................258
Dynamics and mode descriptions ....................................258
Compressor ...............................................................................260
Compressor modes ................................................................260
Corrective mode (exponential peak - fast) ...................260
Adaptive mode (exponential RMS - accurate) ............. 261
Creative mode (linear peak - slow) ..................................261
Vintage mode (adaptive peak - bright) ..........................262
Compressor Graph .................................................................262
Ratio.............................................................................................262
Knee.............................................................................................263
Gate ............................................................................................264
Ducker.........................................................................................264
Sidechain ...................................................................................264
EQ .................................................................................................265
Phase (All Pass Filter) Controls ...........................................267
Mixes ........................................................................................... 269
Input channel Pick O points .............................................270
Masters Section and Pan Control ......................................271
LCD Displays ............................................................................271
Chapter 30. Outputs ..................................................272
Outputs on Channel Banks .................................................272
GUI channel strips ..................................................................273
Master Section on the control surface ............................ 274
Output metering.....................................................................275
Bus trim (GUI only)..................................................................275
Compressor (Dynamics) .......................................................275
EQ (Equaliser) ...........................................................................276
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Mute, safes, level and solo ...................................................276
Output channel name ..........................................................276
Output channel source/destination (GUI only) ............276
Stereo linking .......................................................................... 276
Output Conguration Patching ........................................277
Safes ............................................................................................278
Insert .......................................................................................... 278
Output channel delay .......................................................... 278
Processing Order.....................................................................279
Mixes ........................................................................................... 279
Masters .......................................................................................279
Outputs macro interrogation control .............................280
Flexi-Aux ....................................................................................281
Chapter 31. GUI Menu (Side Bar Menu) ..................282
Chapter 32. Conguring a virtual soundcheck ......283
Chapter 33. Manchino (Multi Edit Page) .................284
Linecheck Page........................................................................285
Equaliser Page ..........................................................................286
Chapter 34. Update Manager ................................... 295
Console Updater .....................................................................295
Surface Updater ......................................................................296
I/O Box & Device Updater ...................................................297
Chapter 35. Channel AI ............................................ 298
What is Channel AI? ...............................................................298
How to Turn Channel AI on .................................................298
How to prole a channel ......................................................299
Adaptive Conguration Suggestions ............................. 300
Individual component processing ................................. 300
Trim suggestions ................................................................... 300
EQ Suggestions .......................................................................301
Compressor suggestions .....................................................302
Gate suggestions ....................................................................303
Spill ..............................................................................................303
Condence ...............................................................................303
Chapter 36. Specications ........................................304
Equaliser Multiple Select view ..........................................287
Compressor Page ....................................................................288
Compressor Multiple Select View ....................................289
Gate Page ..................................................................................290
Gate Multiple Select View ..................................................291
Naming Page ............................................................................291
Manchino Sends Page ..........................................................292
Sends Unfold Channels ........................................................293
Manchino Safes .......................................................................294
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9. Do not defeat the safety purpose of the polarized
20. Please keep the environmental aspects of battery
This apparatus may be used in tropical and moderate
Important Safety
Instructions
Terminals marked with this symbol carry
electrical current of sucient magnitude
to constitute risk of electric shock.
Use only high-quality professional speaker cables with
¼" TS or twist-locking plugs pre-installed. Allother
installation or modication should be performed only
by qualiedpersonnel.
This symbol, wherever it appears,
alertsyou to the presence of uninsulated
dangerous voltage inside the
enclosure-voltage that may be sucient to constitute a
risk ofshock.
This symbol, wherever it appears,
alertsyou to important operating and
maintenance instructions in the
accompanying literature. Please read the manual.
Caution
To reduce the risk of electric shock, donot
remove the top cover (or the rear section).
No user serviceable parts inside. Refer servicing to
qualied personnel.
Caution
To reduce the risk of re or electric shock,
do not expose this appliance to rain and
moisture. The apparatus shall not be exposed to dripping
or splashing liquids and no objects lled with liquids,
suchas vases, shall be placed on the apparatus.
Caution
These service instructions are for use
by qualied service personnel only.
Toreduce the risk of electric shock do not perform any
servicing other than that contained in the operation
instructions. Repairs have to be performed by qualied
servicepersonnel.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus
(including ampliers) that produce heat.
or grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding-type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. Ifthe
provided plug does not t into your outlet, consult an
electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.
11. Use only attachments/accessories specied by
themanufacturer.
12. Use only with the
cart, stand, tripod, bracket,
or table specied by the
manufacturer, orsold with
the apparatus. When a cart
is used, use caution when
moving the cart/apparatus
combination to avoid
injury from tip-over.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. Refer all servicing to qualied service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has
beendropped.
15. The apparatus shall be connected to a MAINS socket
outlet with a protective earthing connection.
16. Where the MAINS plug or an appliance coupler is
used as the disconnect device, the disconnect device shall
remain readily operable.
17. Correct disposal of this
product: This symbol indicates
that this product must not be
disposed of with household
waste, according to the WEEE
Directive (2012/19/EU) and
your national law. This product
should be taken to a collection center licensed for the
recycling of waste electrical and electronic equipment
(EEE). The mishandling of this type of waste could have
a possible negative impact on the environment and
human health due to potentially hazardous substances
that are generally associated with EEE. At the same time,
your cooperation in the correct disposal of this product
will contribute to the ecient use of natural resources.
For more information about where you can take your
waste equipment for recycling, please contact your local
city oce, or your household waste collection service.
18. Do not install in a conned space, such as a book
case or similar unit.
19. Do not place naked ame sources, such as lighted
candles, on the apparatus.
disposal in mind. Batteries must be disposed-of at a
battery collection point.
21.
climates up to 45°C.
LEGAL DISCLAIMER
Music Tribe accepts no liability for any loss which may
be suered by any person who relies either wholly or in
part upon any description, photograph, or statement
contained herein. Technical specications, appearances
and other information are subject to change without
notice. All trademarks are the property of their
respective owners. Midas, Klark Teknik, Lab Gruppen,
Lake, Tannoy, Turbosound, TC Electronic, TC Helicon,
Behringer, Bugera, Aston Microphones and Coolaudio
are trademarks or registered trademarks of Music
Tribe Global Brands Ltd. © Music Tribe Global Brands
Ltd. 2021 All rights reserved.
LIMITED WARRANTY
For the applicable warranty terms and conditions
and additional information regarding Music Tribe’s
Limited Warranty, please see complete details online at
musictribe.com/warranty.
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8 HD96-24-CC-TP User Manual
HD96-24 Overview
Chapter 1. Introduction
Welcome to the HD96-24 Digital Mixing System. The HD96-24 is a transformation
of the Midas live sound experience. Designed for the modern-day live sound
engineer without compromise.
Designed from the ground up the, HD96-24 system is the rst step in a new way
of mixing and interacting with a Midas mixing console while keeping the famous
no-compromise sonic quality. New forward-thinking ideas including large touch
screen using DreamowTM control, modern multi-touch gesture control with
separate widget style areas and the Midas mCloud system to help manage many
duties of the HD96-24 system are just a few of the new concepts created to take
mixing audio to a new level.
To obtain the best results please, read this manual and enjoy the future of mixing
with the HD96-24 System.
About this Manual
The manual for the HD96-24 is designed to quickly familiarize the user with the
console layout, show how to congure and set the system up and then show how
to carry out basic functions needed to start mixing audio.
This document is aimed at professional engineers, such as front of house (FOH)
and monitor (MON) engineers, who will be using this equipment in a live sound
environment. It is assumed that the reader has previous experience of using
professional audio equipment.
This guide had been designed specically so that mix engineers and system
technicians can go straight to the areas applicable to them, that is operation,
connecting and setting up the system.
Touchscreen
The high brightness screen improves readability in outdoor situations however
the screen should not be exposed to strong direct sunlight.
Never operate the screen in strong direct sunlight. The glass and metal surfaces
of the console will become uncomfortably hot to touch. Raising internal
temperatures.
When screen brightness is set high the screen will become warm/hot depending
on ambient temperature. Reducing the screen brightness will reduce the screen
temperature.
Typically, the screen brightness will raise the temperature of the screen’s glass
surface by the following amounts:
• • Typically, at 100% brightness the screen sur face is 21C above ambient.
• • Typically, at 75% brightness the screen surface is 18C above ambient.
• • Typically, at 50% brightness the screen surface is 15C above ambient.
• • Typically, at 25% brightness the screen surface is 11C above ambient.
• • Typically, at 15% brightness the screen surface is 9C above ambient.
(above is with slow fans, oce ambient typically 20C)
NOTE: A screen brightness of 15% is similar to that of an oce monitor or
standard laptop. At this brightness (15%) the screen temperature rise is 9C
The screen will be hottest at the top and bottom edges (LED locations).
Warning: The HD96-24 should not be placed or operated in direct sunlight. If the
screen is exposed to direct sunlight it may be come unresponsive and too hot to
handle. Please ensure you have suitable cover for your console.
Warranty and Registration
Training
The HD96-24 will continue to develop and improve over many years. It is advised
to frequently check the www.midasconsoles.com website for up to date videos,
user guides and other helpful information.
HD96-24 user documentation
To help you nd your way around the manual, it has been divided into the
following main areas:
• • Overview: This gives an overview of the HD96-24 System and contains
information about this manual.
• • Getting Started: This shows you how to set up and power up a
HD96-24 System.
• • Operation of the HD96-24 surface: This shows you how to use the
controls of the surface, navigate its GUI, route (patch) channels & busses, and
carry out various operations.
• • Description: This gives a detailed description of the HD96-24 hardware,
and the controls and their functions on both the control surface and GUI.
It provides useful reference material.
• • Appendices: This provides reference material and technical information
about the HD96-24, such as application notes, technical specications and
service information etc.
System Firmware Version
Our team of software engineers are constantly working to improve and expand
the features of the HD96-24. It is crucial to have the latest soft ware version
installed on your system in order to achieve the best results from your system.
Updates can be found in the Midas mCloud, a new approach to track and store
system updates.
Midas are world renowned for quality and reliability. This product comes with the
standard Midas 10-year warranty.
Registration of your console is achieved by using the Midas mCloud, a new
concept in managing a Digital Mixing System.
Service and Support
The HD96-24 is state of the art technology. We provide incredible levels of
support and service available via the Midas mCloud or by our care team to give
owners and users condence in Midas products.
Commonly Used Terms and Denitions
Below are some of the terms used in this manual.
• • GUI – Graphical User Interface or Touchscreen.
• • Channel – Any input, Output (Aux, Flexi-Aux or Matrix).
• • Path – Any Input, Output, VCA or Master.
• • POPulation Group – A group of channels used to bring or recall paths to
the surface or screen.
• • Contributions – Any path that contributes to an output bus.
• • Touch – The ac tion of pressing the touch screen to turn on or select
a function.
• • Select – The same as touch.
• • Pinch – Two ngers squeezed together, used to tighten or widen equaliser
width (Q).
• • Swipe – Moving a page left to right or up and down by pressing, holding
and moving in the required direction.
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9 HD96-24-CC-TP User Manual
• • Press and Hold – Either a way to select all the paths on a current page
for multiple editing or a way to engage a parameter function that may
be critical if press in error, for example atting the EQ is a press and hold
function.
• • Widget – The name for a window or various windows displaying
information on the GUI as part of a workow.
• • Workow – Visualizes the activities needed to mix audio.
• • Pot – A physical rotar y control used to adjust a level or value.
• • Interrogation – Pressing and holding a function to see the parameters
associated with that control.
Chapter 2. HD96-24 Overview
Introducing the HD96-24 Digital Mixing System.
For decades Midas has been a driving force in the world of pro audio. Building
on the incredible success of the XL8 and PRO Series with their exemplary audio
performance and road-proven rugged and reliable construction, the Midas PRO
Series became the gold standard in concert touring and installed live sound.
Oering the same outstanding sample-synchronised and phase-coherent audio
performance, interpolated control functions and intuitive navigation, the PRO1,
PRO2, PRO3, PRO6, PRO9 and later PRO-X Live Audio Systems have become one of
the industry’s main choices for live sound mixing.
Now the HD96-24 pushes the boundaries fur ther yet again with a 21” touchscreen
for hands on instant access to all controls. Parameter adjustment becomes
fast and easy with gesture touch interaction using the precise and accurate
multi-touch display which allows up to 10 simultaneous touches. Featuring 144
Simultaneous inputs and 120 (96 x Flexi Aux + 24 x Matrix) time-aligned and
phase-coherent busses with no stealing of resource’s in channel or bus counts.
True and consistent 96 kHz sampling frequency and 64-bit oating-point
processing provide exemplary quality audio processing, and the oversampled
and interpolated digital signal processing algorithms, combined with the fully
interpolated and touch sensitive user controls, result in the smooth continuous
response and immediacy of working on an analogue console.
The HD96-24 features the rugged and road-proven KLARK TEKNIK HyperMAC
(HMAC) and SuperMAC (AES50-compliant) networking technologies with their
ultra-low and deterministic latencies and robust error correction. Its powerful
audio networking oers up to 624 inputs and 654 outputs at the 96kHz sample
frequency depending on conguration.
The 24 VCA (Variable Control Association) and 24 POP (POPulation) groups,
combined with the advanced touch screen navigation system, 28 faders,
assignable controls and innovative shortcut area allow simultaneous display
and control of all the critical information required to craft an unprecedented
mix experience.
Overview
The HD96-24 is a very powerful and exible audio processing system that
provides a complete solution for any audio mixing and signal distribution
application in a live sound environment. Common features of the HD96-24 Live
Audio System include:
• • Graviton Audio Engine incorporated into surface
• • 144 exi inputs
• • 120 busses.
• • Up to 96 stereo Eects
• • 32 Ultima Stereo Multiband Compressors
• • 24 VCA (variable control association) groups, and 24 POPulation groups
• • Variable phase per input channel
• • Input - Aux - Aux - Matrix routing (Delay compensated)
• • True 64-bit FPGA processing with GPU coprocessing
• • 5 tap o points per channel per send, all delay compensated
• • Dedicated 16 into 12 shout mixer with instant conguration recall
• • Dual Solo busses featuring duckers and AFL/PFL congurable for input
and output
• • True Audition™
• • True Preview ™
• • Channel AI™
• • 21" full colour TFT high brightness display screen with capacitive
touch sensing
• • Advanced and multi-gesture touchscreen user interface
• • Award-winning Midas microphone preampliers
• • HyperMAC and AES50 networking allows up to 576 inputs and 576 outputs
sources @ 96 kHz sample rate
• • Dual network bridge format converter with up to 128 bidirectional channels
and asynchronous sample rate conversion
• • Touring grade road case featuring marine grade plywood, aluminium
extrusions and composite density protective foam
• • Integrated Bluetooth and wireless transceiver module
• • Dual ULTRANET Ports providing 32 additional digital outputs
• • 28 Midas PRO motorised 100 mm faders
• • Fully interpolated touch sensitive controls
• • Dual redundant auto-ranging universal switch-mode power supplies
• • 10-Year Warranty Program
• • Designed and engineered in the UK
Key features
New Surface Design
DreamFlow™ UI
Full HD multitouch screen - daylight coated
40 x 18-bit colour 240x240 channel LCDs
Total congurability, anything anywhere
36 assignable rotaries
Full channel control with dedicated 4-band EQ and dynamics section
Manchino workow heralds new Era in console setup speed
Completely customisable surface
28 faders
Dante, Madi and USB interfaces available directly in surface with t wo CM1 slots
Graviton Audio Engine utilises two HyperMac ports which are congurable for
dual redundant or independent operation
• • 96 Ultima Stereo Dynamic EQs
Over 39 Eects to choose from
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Including Eects from TC Electronic.
Tc electronic system 6000 FX (VSS4)
Tc electronic 2290 (coming soon)
Tc electronic system 3000 FX (VSS3)
KT DN780 Reverb
HD2a
HD 670
KT 1176
R-Comp 3
KT Bus compressor
Mtec EQP-HD
Mtec MEQ-HD
M6 Multiband compressor and dynamic EQ.
HD Stressor compressor
HD Wave Designer
Ultra-Dualistic, Voice Doubler
XL4 EQ
Applications
The HD96-24 is the go-to high-end Midas Digital Console System, akin to the
‘industry standard’ Heritage 3000 and XL4. Although the HD96-24 is designed for
the traditional touring live sound environment, it is also ideal for theatre, house
of worship installations and broadcast. So, being a truly multi-functional console
in the Midas tradition, the HD96-24 is suitable for many applications, such as:
the eight incoming AES50 streams into the outgoing snake connection, and
simultaneously also takes the incoming snake connection and unbundles the
eight AES50 streams and routes them to the corresponding AES50 ports with
redundant connections available. This allows 192 bidirectional channels of audio
to be used.
System Busses
The HD96-24 has comprehensive system busses to suit demanding applications,
comprising:
1. 2 stereo solo busses, routable from all locations and allowing for dual
operator
2. 3 master busses, routable from the mic/line inputs (up to 144), and 96 aux
busses.
3. 24 matrix busses, routable from the mic/line inputs (up to 144), 96 aux
busses and three master busses.
4. 96 aux busses (either standard or exi-aux, routable from the mic/line inputs
(up to 144) or exi aux bus to aux bus for group or stem style processing.
All of the bus routings provide simultaneous and time aligned mixing of all the
sources, which will be switchable for minimum latency requirements.
For monitor mixing, the master, matrix and aux busses can all be routed directly
from the input channels, with independent level controls providing up to 123
monitor mix busses. Flexi-Aux busses allow group mixing of channels to be sent
to Auxes, Matrices or the Masters, for example, mix and process all your drums via
a Flexi-Aux then send to an IEM Aux.
For traditional FOH group mixing, any (or all) of the aux busses can change to
operate post-channel fader and pan (that is, aux gain xed at unity).
• • Live sound touring Front of House (FOH) or Monitors (MONS) duties.
• • Live sound theatre FOH or MONS duties.
• • Live sound & broadcast for house of worship FOH or MONS duties.
System Components
The HD96-24 surface now brings together all DSP and processing into one place.
This allows for quicker set-up. With built in Wi-Fi and Bluetooth the HD96-24 can
talk to the mCloud for show le back-up, software updates, fault tracking and
even the location of the desk anywhere in the world.
All the I/O is handled by the familiar Midas Blue DL series rack which combines
the warmth and authenticity of analogue circuitry with the precision and agility
of state-of-the-art digital techniques. Extreme care has been taken in the
planning and execution of the PCB layout to maintain exceptional grounding and
analogue/digital separation with the highest quality of sonic performance.
Compatible DL Series units are:
DL231/431
DL251/252
DL151/152/153/154/155
The Klark Teknik DN9680 8 Port AES50 extender and multiplexer can be directly
connected to the HD96-24 which Extends AES50 connections up to 500m with
optical bre or 100 m with CAT5 cable. DN9680 supports both optical bre and
copper snakes using a Gigabit Ethernet digital audio point-to-point link. A dualbre Neutrik opticalCON DUO connector is used for optical bre snake connection,
enabling a bidirectional optical link on one multi-mode dual bre cable
The DN9680 acts as a bidirectional multiplexer and demultiplexer and combines
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Mix matrix
Fundamentally, the mix matrix denes the capability of the HD96-24. Probably the best way to imagine the mix matrix is to think of an analogue console layout, where
inputs run vertically, and busses run horizontally. A mix matrix is usually dened as the number of busses and the quantity of simultaneously mixable inputs there are
per bus. The following diagrams illustrate the capability within the HD96-24 system.
Processing
Although the HD96-24 system allows for considerable insertion of ex ternal processing, it also embodies ample internal high-quality processing to eliminate the need
for this, in the interests of simplicity and reduced overall system size, weight and cost.
Processing components
The processing available is:
• • Up to 144 x 12 or 24dB/Oct. High pass lters.
• • Up to 144 x 6 or 12dB/Oct. Low pass lters.
• • Compressor/limiters on every input and output channel with side chain ltering and multiple operating “signatures”.
• • Up to 144 gates with side chain ltering.
• • 144 x 4-band parametric input EQ with multiple shelf “modes”.
• • 123 x up to 4-band parametric output EQ with HPF/LPF modes.
• • Up to 24 eects processors slots selectable from reverbs, delays, phase shifters, compressors and pitch shif ters.
Input channel processing
Each of the 144 (maximum) full-function exi input channels has:
• • Analogue gain and digital trim.
• • Polarity reverse switch.
• • Input delay.
• • Swept high pass lter with choice of two lter slopes.
• • Swept low pass lter with choice of two lter slopes.
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• • Swept all pass lter with a choice of two options of phase range with low and high optimization.
• • Frequency-conscious compressor with choice of four compression styles.
• • Frequency-conscious noise gate with external side chain.
• • Insert point. (half normalized i.e. the insert send can be used as a channel direct output, even if the insert return isn't switched in).
• • 4 Band Parametric EQ lter with various lter options.
• • Routing via level controls to 120 mix busses.
• • Routing via pan control to left and right master busses.
• • Routing to mono master bus.
• • Direct output. Choice of 3 pick-o points, with independent output level/mute.
• • 3 Slots for FX inser ts
Mix channel processing
Each of the auxiliary mix busses has:
• • Group or Mix mode.
• • Dual mono or stereo pair modes. Mono, Linked or Stereo where a single fader controls 2 linked adjacent paths.
• • Up to 4-band PEQ.
• • Frequency-conscious compressor with choice of four compression styles.
• • Insert point.
• • Routing via level controls to the matrix busses.
• • Routing via pan control to the left, right and mono master busses.
• • Direct input with independent input level/mute.
Output channel processing
Each of the matrix busses has:
• • Up to 4-band PEQ.
• • Four-mode frequency-conscious compressor with soft clip limiter and external side chain.
• • Insert point.
• • Direct input.
Each of the three master output busses has:
• • Up to 4-band PEQ.
• • Four-mode frequency-conscious compressor with soft clip limiter and external side chain.
• • Insert point.
• • Direct input.
• • Routing via level controls to the matrix busses.
Audio Physical Connections
The maximum total number of physical analogue XLR connections possible on a HD96-24 is 488 plus talk line in and talkback mic in on the rear of the surface.
The maximum number of 488 congurable I/O can be increased up to 654 (488 analogue + up to 128 CM1 + 32 ULTRANET + 4 AES3) depending on the combination of
dierent types of I/O card can be used.
All of the congurable I/O are freely routable on a scene-by-scene basis.
Network
The network of the HD96-24 utilises the physical connectivity of Ethernet (EtherCon® connectors and Cat 5e/copper cable) but replaces its data protocol with AES50
protocol (implemented as SuperMac) and the HyperMac high capacity system, which are more suited to high quality, low latency audio distribution. The use of the AES
standard allows straightforward interfacing with any third-party hardware that also utilises this connection.
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AES50 connections carry digital audio and control data bi-directionally down a single cable. Cat 5e cable is used for the ‘local’ connections and the dual digital ‘snake’
(equivalent to a 384-channel analogue multi-core, 192 channels per snake connection) between console and I/O. The combination of audio, control, clock and thirdparty Ethernet data in a single network means that the hardware interfaces on a single RJ45 connection.
All system connections can be duplicated for full dual redundancy.
mCloud Network
The Midas mCloud network is a brand-new concept in le and system management. The HD96-24 has built in Wi-Fi capabilities which allow the surface to share its
information over a Wi-Fi connection and any other network connections to the mCloud. Be reassured the connection is completely safe with military grade encr yption.
Great lengths have been taken to keep information secure.
The mCloud can be used to store your show les, preset les and all other types of data from the console. If you leave your USB stick with your vital settings at home,
you can directly log into your mCloud account and load your show le straight to the HD96-24 without breaking into a sweat.
New system updates can be downloaded directly to the surface ready for you to update when you’re ready. A list of all previous software versions will be stored on the
HD96-24 for peace of mind.
It also allows audio rental companies to keep a track of registrations, sof tware versions, warranties and diagnostic logs. All the admin for running a busy hire company
in one place.
Each user of the HD96-24 will be prompted to set up a user prole which also in turn congures your mCloud account.
HD96-24 software
The operating system of the HD96-24 built on Linux, which is an open-source, stable, proven operating system (OS). Linux is used in many mission-critical applications
worldwide and has allowed Midas’ software engineers to write a ground-up system that contains no ‘hidden’ or unused code. This has resulted in an ecient, compact
application, which is quick in operation, quick booting and comparatively easy to debug.
Graphic User Interface (GUI)
The HD96-24 has a 21” touch screen that provides a quick and intuitive workow. Modern touch gestures such as pinch and smooth touch screen faders have been
included to speed up workow and let you concentrate on the mix. Not only does the GUI reect what is happening on the control surface, but it also provides extra
functionality via a top and side bar menu. These menus provide access to all the pages that you will require to set up, congure, manage and operate the entire control
surface.
Gone are the days of only one touch on a screen at a time. Use both hands to manipulate up to 10 faders at a time if you so wish.
Pinch gesture showing EQ width adjustment.
Independent widget style areas are extensively used to display various dierent types of information at once, all fully customisable to suit your workow.
System Card Expansion
The HD96-24 has 2 x CM-1 slots built in for further audio expansion. Adding up to an additional 128 channels
of I/O greatly increases networked capabilities. Virtual sound checks and recording have never been easier to
set-up and achieve with exible options. Being able to support new and emerging protocols via its two
industry-standard expansion slots give the HD96-24 a greatly extended shelf life.
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Chapter 3. System Setup
This chapter shows you how to set up a live audio system to its standard conguration.
Initial set-up procedure
Initial system set-up basically comprises:
Unpacking and checking the equipment.
Connecting up the equipment.
Powering the equipment.
Initial patching.
Type of snake connection.
Conguring the rack unit(s).
User Prole use.
Unpacking the equipment
After carefully unpacking the equipment, save all packing materials, as they will prove useful should it become necessary to transpor t the equipment later. Inspect the
equipment carefully for any sign of damage incurred during transportation. It has undergone stringent quality control inspec tion and tests prior to packing and was
in perfect condition when it left the factory. However, if the equipment shows any signs of damage, notify the transportation company without delay. Only you, the
consignee, may institute a claim against the carrier for damage during transportation.
The screen and LCD displays are protected by a plastic lm. Carefully peel this o before use.
Warning: This can induce static that can cause temporary distortion of LCD displays. This is rectied after rebooting the console.
Ventilation
The HD96-24 has air intake vents on each side of the console. Air is drawn in through the console side vents and exits via the two fans on the rear of the surface. It is
vital none of these airways are blocked as overheating may occur if air ow is restricted.
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Racking the I/O
Please take note of the rack requirements as detailed below:
To ensure the correct installation and function of the outboard equipment, any rack has to meet the following general requirements:
Shock mounting (for non-installation environments)
The rack must provide adequate shock protection of the units it houses by incorporating appropriately-designed shock protection methods. For example, a foamsuspended rack or a frame suspended on anti-vibration mounts.
The Midas I/O units have been designed such that their internal ventilation airow is drawn in through the front of the unit and expelled though the rear. To facilitate
this, rack design must ensure that cool air can ow freely through the rack in the same direction, that is, in through the front of the rack and out through the rear.
Situations where the air ows in a circular direction around and through a Midas I/O unit must be prevented. MIDAS recommends that racks with fully opening front
and rear doors are used.
Caution
Never combine units in the same rack that have been designed for a ventilation air ow direction other than that designed for the MIDAS units. To avoid this,
we recommend that any non-MIDAS units are housed separately.
Rack mount supports
Always secure the rear of the Midas I/O units to the rack via their rear rack mount support brackets. These brackets are tted to every Midas I/O unit and are
recommended for use in touring applications.
Handles on rack case
You must ensure that there are sucient external handles tted to the rack casing to enable the rack to be manoeuvred easily and safely, and by the number of
personnel suitable for the task. Also, these handles must be t for purpose.
Clearance at the rear of units
Ensure an adequate clearance at the rear of the units to provide sucient free space to enable the cables to achieve their minimum bend radius.
Securing the cables
We recommend that the cables at the rear of the units be tidied using lacing bars and cable ties. This should provide optimum access to the rear of the units for
connecting other cables, switching the units on/o etc., and also to give maximum visibility of the units’ LEDs for determining communication status, link status,
condition of audio etc.
Connection instructions
There are currently two ways to connect the system equipment together:
1. HD96-24 surface to a Klark Teknik DN9680 via copper (up to 100 m) or with a multi-mode (MM) bre optic snake (up to 500 m). Then Klark Teknik DN9680 to I/O
box (for example, DL231) via Cat5E (up to 100 m).
2. HD96-24 sur face direct to I/O (for example, DL231) via Cat5E (up to 100 m).
It is imperative only STP Cat5E Rated cables are used!
Length = 100M Point to point as per the Cate5E ethernet protocol - Please take into consideration any in line connections or links reduce the overall
cable length.
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AES50 Cat5e STP vs UTP cables.
Music Tribe are standardising the use of Ethercon cables used for AES50 connections and state that customers must use Shielded Twisted Pair (STP) cable only with
shielded RJ45 plugs and Ethercon shells.
STP cable has the added advantage of a foil or braided shield that guards the cable against electromagnetic interference. A good foil or braided shield and correctly
connected shielded plugs and shells also helps protect against Electrostatic discharge (ESD) that can be the cause of dropouts on AES50 connections.
Occasionally shielded Ethercon cables will leave the shield disconnected on one end to help with ground loops, even though it has no benet for AES50 connections.
These connections should have continuity of the shield on both ends including the Ethercon shells. This will ensure the best possible protection against strong ESD
impacts, such as handling discharges or even lightning strikes in the neighbourhood.
All AES/EBU connections must use good quality 110Ω AES/EBU cable to ensure correct operation.
System components
Below is a list of currently compatible system I/O components with the HD software. When I/O is connected to the HD96-24 system it will be necessary to be update to
the latest HD I/O soft ware. The updater is built into the console and guides you through the update process. Once updated, I/O boxes will still be compatible with Pro
Series consoles.
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Connection via HMAC to DN9680, then AES50 connection from DN9680 to DL231
Direct connection of I/O in AES50 redundant mode
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Powering the system
Important Note:
Make sure your speaker system, in-ears or monitor wedges are muted until the start-up of the system has been completed.
After all system interconnections have been made, start up the system by doing the following:
Switching on the HD96-24
1. Plug the t wo mains cables into the mains power outlets. Both power supply modules should be supplying power to the HD9 6-24 surf ace for correct redundant operation.
2. Plug the connectors of the mains cables into the IEC mains sockets on the rear of the HD96-24.
3. Turn on the power to the HD96-24 surface by switching both D.C. POWER switches on. The sur face will boot up. Once the default GUI screen is displayed, it is ready for use.
To switch o the HD96-24 surface
1. Make sure you have saved any shows, scenes or settings you require.
2. In the GUI, select Menu from the top bar, then press and hold the red Shutdown button at the bottom of the menu until the line traces around the outside of the
red button. The shutdown procedure will then initiate.
3. The screen will go blank, the MIDAS logo will briey be displayed, then the screen will go blank for a second time indicating the shutdown procedure has nished.
Once the system has been shut down correctly is it safe to turn o both D.C. power switches (rear of surface).
Setting up the ID of the unit(s)
After connecting up your system, you may need to set up the ID of the unit(s) in the rack, such as the DL231 I/O, DL251 I/O or DL15x I/O, as each unit within the same
family of units must have its own unique ID number.
Note: The I/O unit doesn’t have to be connected in the system for you to set up its ID, as the procedure can be carried out oine.
To set up the ID of a I/O unit
Although the programming menu of each type of I/O unit may look slightly dierent, the procedure for setting up its ID is basically very similar. For full instructions on
how to set up the ID of each particular I/O unit, refer to its operator manual.
The unit ID number is shown on the LCD screen at the end of the top row of text.
1. Press MENU and hold for approximately two seconds to enter the main menu.
2. Use the up and down arrow buttons to navigate to the set ID option.
3. Press SELECT to enter the set ID option.
4. Press MENU repeatedly to exit the main menu. (The unit will automatically exit programming mode after 20 seconds of inactivity).
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I/O Box Update
Note: I/O boxes will need to be updated in order to work with the HD96-24 system. The I/O Box and Device updater can page be found in the Update Manager
(side bar menu). With all your I/O connected with the console as master clock, press Sync I/O and follow the instructions. Updated I/O boxes will still work and are fully
compatible with Pro Series consoles.
1. Press Sync I/O. Any I/O racks will appear after the I/O scan.
2. FOH I/O connections will be displayed in this section.
3. HMAC I/O connections will be displayed in this section.
4. Each device will display its family type (DL15x, DL231), its current software version and the ID number for the I/O device.
5. Select all currently Sync’d I/O devices ready for update. If you prefer individual racks can be updated.
6. Pressing Update Selected updates all selected I/O to the latest version of HD software.
Connection to the internet
The Hd96-24 has a built in Wi-Fi router and Ethernet port to allow a connection to the internet.
Wired connection:
A DHCP server enables the HD96-24 to request IP addresses and networking parameters automatically from the Internet service provider (ISP), reducing the need for
a user to manually assign IP addresses to all network devices. Plugging the Ethernet port into a cat5 socket/port at your venue with an active internet connection will
automatically connect you to the internet for updates and mCloud use.
WiFi connection:
Local WLAN networks will allow you to connect to them with the correct password. Follow the on screen instructions to connect.
Note: An active internet connection is required to use mCloud network and for mCloud system updates. Updates and update instructions can also be downloaded
from the https://cloud.midasconsoles.com website.
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Hardware Connections
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Chapter 4. Before You Start
Principles of operation
Control surface operation is based on the concept of colours and groups rather than ‘layering’ or ‘paging’, which is the case with most digital consoles on the market
today. With so many channels available it is far easier to remember them by their user-congured individual/group colour and name rather than their channel number.
Tags can also be used to group channels together in order to speed up certain functions, for example, changing the colour of all the drum channels.
The control surface is populated with instantly recognisable controls that are logically distributed in major sections, so that all the controls you need to access most of
the time are always on the control surface, while the remainder are only one action away. You can display all I/O meters, both on the control surface and the GUI via the
Console View workow, to give instant monitoring and metering feedback.
Operating modes
You can change certain aspects of the control surface operation by assigning dierent tasks to certain areas of the control sur face. Later in the Navigation chapte these
functions will be explained and how custom layouts can be created to suit your particular working method.
Hints and tips
Check the HOME and Console View screen frequently, this can be found in the Home workow and looking at overview or by pressing the home key next to the global
shortcuts area. This provides at a glance an overview of the control surface’s input/output status.
The multi-edit Manchino page is a great place to set various inputs or outputs to user dened levels or settings e.g. setting all faders to 0dB, setting all contributions
into a particular aux to be Pre-fade, or routing a large number of paths to the Stereo bus. Details of how it works can be found in chapter 8 basic operation chapter and
in more detail in chapter 33 Manchino advanced.
Setting up a User Prole
The HD96-24 incorporates a system of User Proles for storing console les and set-up information. Each user of the HD system can have their own prole which keeps
all of their show les set ups and presets on the console and via the mCloud network if the HD system has an active internet connection.
After the system has been registered and is turned on for the second time you will be asked to either log in or create and add a new prole.
1. Current selected prole. Press “Login and Continue” to enter system.
2. Log Out of the system with a short button press.
3. Add a New Prole or Change User prole by pressing here.
4. Securely log out of your mCloud account (password forgotten).
5. Logout of your mCloud account (password is remembered for next log in).
6. Safe Mode (the show database is not available in safe mode, but you can still mix).
7. Activates the lock screen.
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8. Shutdown the Console.
9. Allows the setup of the console to be changed.
Saving your work
Shows are automatically stored to your mCloud account and uploaded to the mCloud if the console is connected to the internet for instant show back-up. Auto Save
updates your current show and a history of shows can be viewed via your mCloud account on a computer.
We also recommend that you save your work regularly to a USB stick while carrying out the procedures included in this chapter. Not only is this good practice during
normal operation, but in this instance, it may save you from losing some set-ups that could prove useful later on. To do this, tap the Automation icon or automation
display at the top of the screen, press the Show Manager icon, create a new show and export your show to a USB stick. Now continue reading through the remainder of
this section, following the instructions carefully.
1. Press in the scene window to open the scene recall page, press the Show Manager icon to navigate to the show page (or select from the side bar menu).
2. Ensure Auto Save is active (stores every time a scene is stored).
3. A list of shows in your account can be seen here. (Current active show highlighted in light blue).
4. Press New to create a new show.
5. Press Open to load the selected show.
Note: Chapter 8 Basic Operation gives more details on opening a show and the various load options.
Saving a show versus storing a scene
It is important to understand the dierences between saving a show and storing a scene. Storing a scene saves the current settings of the system to the show le.
Scene data is never updated unless you manually store a scene.
In the event of power loss, the console attempts to recover in the same state. i.e. user, and show loaded with identical settings.
Saving a show copies the show le onto the internal solid-state disk of the control sur face. This provides you with a ‘permanent’ copy, provided you shut down the
system properly as detailed in the following section. You also have the option of saving your show to the Midas mCloud. This gives extra security to your work and
allows your show le to be restored to a console even if you have lost your USB stick.
Shutting Down the Control Surface Correctly
When switching o the control surface, we recommend that you use the shutdown option in the GUI menu.
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Hold Shutdown for a short time while the line traces around the outside of the button. The surface will then start the shutdown routine: The screen will go blank, the
MIDAS logo will briey be displayed then the screen will display the safe to shutdown splash screen indicating the shutdown procedure has nished. Only once the
system has been shutdown correctly is it safe to turn o the power switch. By using shutdown, the cached copy of the show data, which is maintained by the system, is
automatically stored.
If you don’t use shutdown the console will attempt to load the show and scene you were on at time of power down. You do not need to manually load the show.
mCloud system
The mCloud system handles all show le storage at its basic level. Imagine leaving your USB stick at home but not worrying as once you sign into your mCloud
account on the surface you can see all your shows in one convenient place. mCloud usernames can be 3 to 18 characters long. Passwords have to be between 5 and 32
characters long.
Below is a list of le and account sync status icons:
Status if connected to the mCloud:
• • Synced All versions of this show have been pushed to the mCloud; any newer mCloud versions have been synced to the console
• • Conicted Edits have been made on both console and cloud: awaiting user to select the correct. Conicts can also occur using Online Editor (OE) or 2 consoles.
• • Error The sync service encountered a problem trying to sync this resource (e.g. due to an issue communication with the mCloud).
• • Syncing Edits are being pushed to and/or pulled from the mCloud.
• • Pending One or more newer versions have been created on the console and will be synced shortly.
Connected to mCloud means the console can reach the mCloud server, the current user is mCloud-enabled, and a valid password has been entered (or a valid token
saved from a previous session)
mCloud support
Please check https://cloud.midasconsoles.com for help and support with the mCloud system.
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Initial Setup
When the HD96-24 is switched on for the rst time you will be presented with the time zone selection page. Select time zone, apply and then shutdown the console to
change the time zone settings.
In order to enjoy the full benets of the mCloud system it is advised an internet wired or wireless network connection is available. You will then be guided through the
various pages to set up and login into your mCloud account.
Setting up a User Prole
The HD96-24 incorporates a system of User Prole for storing information about the console set-up and other User info. Each person using the HD system can
have their own prole which keeps all your show les and other useful information on the console and via the mCloud network if the HD system has an active
internet connection.
When a system is rst turned on you will be asked to create or add a new prole. If you have already set up your mCloud account, you may login via mCloud.
Subsequent use of the system will ask you to either login or change user as desired.
Select your user prole if already used with the system by pressing your prole.
Use Login via mCloud to reach the mCloud login page. Enter your name, password and click Sign In.
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Choose the Change User option if you wish to switch or also create a new user prole.
Press Create New User then enter a memorable user prole name. Press Create New User to continue and select your newly created prole to login. You also have the
option to create an mCloud account at the same time. A 4-digit pin can be added at this point for extra security.
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Note: User Data is not accessible in safe mode. The console may still be used in its current state and will continue to pass audio. You cannot access storage to load or
save settings, shows, etc. You can however load a show le from a USB stick if required.
Safe Mode
In an emergency Safe Mode can be used to gain access to the console. If you sign out of your user prole and head to catering once doors have opened it is possible to
use safe mode to allow, for example, the system tech to adjust the background music, if required, without having access to your mCloud account.
To enter Safe Mode, long press the Enter Safe Mode button until the line traces around the button. Next, select the Safe User Icon and press “Done” to gain access to
the system.
Note: In Safe Mode, you cannot access or save show data.
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Chapter 5. About the Control Surface
Overview of the Control Surface
This chapter introduces you to the control surface and provides a brief hardware description.
The HD96-24 has been designed to give the operator easy-to-use touchscreen controls along with familiar analogue style controls. This clever combining of working
methods ensures any engineer can walk up to this console and instantly feel at home, but when required can delve deeper into the system to achieve spectacular
results.
The surface is constructed on a robust MIDAS steel frame chassis similar to those used in established MIDAS analogue products. All associated power supplies,
computer motherboards, Wi-Fi router, Bluetooth, memory, graphics cards etc. are housed within the surface, which also contains a digital audio router box that
supports local I/O connectors on the rear panel. Substantial forced air-cooling is provided by a bulkhead and large (but slow moving) internal fans. The large capacitive
touchscreen displays a large quantity of information and can be customised to match your workow to make mixing a pleasure. Using modern day gestures from
mobile phone and tablet technology, such as pinch and swipe, makes parameter manipulation even faster and more responsive with up to 10 simultaneous touch
points.
The HD96-24 system is designed to be easy to see for colour blind people. Great care has been taken to make the system visible to as many types of colour blind people
as possible.
Control Surface Layout
The HD96-24 surface can be spilt in to 7 distinct areas making operation quick and precise with all controls close to hand. The areas are dened in the diagram below.
The HD96-24 has 4 fully assignable fader banks split into three banks of eight faders and one bank with four faders, each with individual full colour ultra-bright LCD
displays. Any section can be assigned to any function, be it inputs, outputs, POPs, VCA, Matrices or Masters. This concept allows the user to fully customise the surface
to suit their mixing preferences.
The global assignable shortcuts area can be used to provide many simple and complex functions with macro style controls at your nger tips. E.g. Pop group selection,
triggering macros or automation recall.
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The assignable controls above the faders and to the side of the GUI can be fully customised to suit your workow. Functions can be changed quickly with the cursor
arrow controls. For e.g. altering pan position, aux control or gain changes.
Channel strip layout
Each channel strip within a bank provides:
1 – LCD DISPLAY - A high-resolution display providing metering, channel information and ip status.
and local parameter values.
2 – SEL - Selects the channel for a variety of operations, including adjusting parameters
from the GUI and assigning to the channel detail area.
3 – COMP - Compressor gain reduction meter.
4 – INPUT - Input metering.
5 – GATE - Gate gain attenuation met,er.
6 – MUTE - Press the MUTE button to mute the channel.
7 – SOLO - Press SOLO to listen to the channel signal
8 – LEVEL - The fader is touch sensitive providing level control from ∞ to +10 dB (or +6 dB if contributing to an output bus)
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Global Assignable Shortcuts
The Global Assignable Shortcuts area in the centre of the sur face allows various functions to be placed within easy reach of the user. Twelve full colour LCD displays
with Selection buttons show a great deal of information and allow for complex operations to be recalled with one button press.
HOME
The HOME key is also found in this area. When pressed, the HOME workow is brought to the GUI.
TAP
The TAP button is used to set the tempo for eects assigned to the Global TAP tempo function. Commonly 8 taps are required for an accurate tempo.
Arrow Keys
These two keys tab through the various pages of the global assignable shortcuts pages which can be fully customised.
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Channel Detail Area
The familiar looking Channel Detail Area is used for hands on control with sections for Cong, Equaliser, Dynamics, Phones, Talk, Solo, Monitor, Main Bus and Master.
This area makes using the surface easy to use with a familiar analogue feel. The 4 x Change Over (C/O) buttons for Master, Mono, Monitor A and Monitor B assign the
control to the fader below for quick control.
Front and rear panel connections
The surface has connector panels on both the front and rear. The front connector panel to the right of the GUI has an XLR socket and a USB sockets for connecting a talk
mic and USB device, respectively. Under the armrests at either side there are two 6.35 mm headphone sockets which link to Mon A and Mon B respectively.
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A connector panel on the rear of the control surface has two main sections. On the lef t are two mains power inlet and ventilation assemblies, with a DC power switch
below. The right-section contains connections for the Snake/Fibre Multicore, Ethernet, four, AES50 ports, eight analogue audio inputs and outputs, three AES3 inputs
and outputs, diagnostics, word clock, Two HDMI™ external monitor outputs, Midi, Talkback, two expansion card slots and USB Hub.
External interfaces and peripheral devices
Various devices can be used with the HD96-24.
MIDI Standard 5-pin connectors are housed in the rear panel for use as MIDI IN, OUT and THRU ports. These are also tted on some I/O units (DL231, DL251 for
example) and, therefore, are available at both the FOH and the stage locations.
USB 2 x 4way USB 3.0 hubs are provided on the rear of the HD96-24. In addition, a USB port can be found to the right of GUI screen for convenient le transfer.
Note: The Recovery buttons next to the USB hubs should NEVER be pressed unless advised to by the Midas support team. If, for some reason one of the button has be
pushed, audio will stop, and the screen may turn o depending on which button is pressed. The console will then require a power cycle to return to normal function.
HDMI the HD96-24 has 2 HDMI™ connections on the rear panel to connect extra displays.
Ethernet Port used for connecting the HD96-24 to a network.
Ultranet 2 x Ports for connecting Ultranet enabled devices.
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Chapter 6. Navigation
An Introduction to navigation
The HD96-24 has full multi-touch screen control. This gives the user some of the feeling of working with analogue consoles, whilst at the same time, incorporating
modern ways of interacting with everyday products like Smartphones and Tablets. One of the advantages digital consoles have over analogue ones is that their
channel count is not limited by the control surface hardware. However, this means that only a certain number
of channels can be shown on the control surface at any one time, while the others are available at the touch of the screen (GUI) or assignable shortcuts area.
Pressing the SEL (select) but ton on any input or output will bring the chosen channel to the surface and GUI controls. Pressing SEL again on a stereo channel will switch
the view to the right side of the channel. From here, adjustments to many common parameters can be changed such as Gain, EQ, Dynamics or Pan position. This way of
working has a familiar feel that you will understand and be comfor table to use. Mute will stop audio passing and solo will send the audio of the selected path to either
the A or B solo bus depending on path settings.
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Navigating via the surface detail area
The surface is laid out with a familiar analogue feel for easy operation. Everyday functions are available for hands on operation. All functions are mirrored in the GUI
with parameter values highlighted on touch. This allows you to make changes quickly to the selected channel or path.
Cong
1. Meters – 12 LEDs Stereo input meters display signals from -35 dB to 20 dB.
2. Link – Links the currently selected input channel to the next input. Note outputs always link odd to even, i.e. Aux 1 to 2 etc.
3. Talk – Send the talk bus to the select channel.
4. Gain – Adjust the gain of the input channel pre-amp.
5. Trim – Adjust the trim level for inputs -40 to 20 dB or for Aux, Matrices and Master Busses -12 to 6 dB.
6. HPF – High Pass Filter (HPF) control with a range from 10 Hz to 10 kHz (inputs only).
7. LPF – Low Pass Filter (LPF) control with a range from 40 Hz to 20 kHz (inputs only).
8. Dir Mute – Mutes the direct in/out of the currently selected channel.
9. Insert – Switches on the insert point on the selected channel if patched.
10. 48 V – Activates 48 V phantom power on the selected input channel.
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11. Ø – Polarity Switch. Changes the polarity of the selected channel by 180° (often inaccurately called phase reverse as the button only inverts polarity).
12. HPF on – Activates the HPF (inputs only).
13. LPF on – Activates the LPF (inputs only).
Equaliser
1. On – Turns the Equaliser on for the selected channel.
2. Gain – Each band has +- 16.2 dB of range.
3. Frequency – Each band as a frequency range of 16 Hz to 25 kHz.
4. Width – The width or Q of an EQ band can be changed from 0.3 to 5.3.
5. Shape – Changes the shape of Band 4. For inputs, the shape options include, Bell, Bright, Classic and Soft. For outputs, the Shape button has Shelf, LP 6 dB,
LP 12 dB and Bell modes.
6. Shape – Changes the shape of Band 1. For inputs, the shape options include, Bell, Deep, Classic and Warm. For outputs, the Shape button has Shelf, HP 6 dB,
HP 12 dB and Bell modes.
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Dynamics
1. Compressor GR Meter – Compressor (Comp) Gain Reduction Meter (Range -1 dB to – 23 dB).
2. GATE GA Meter – Gate Gain Attenuator Meter Range (-1 dB to -34 dB).
3. SEL Comp – Selects the compressor setting for the selected channel.
4. ON – Turns the compressor on for the selected channel.
5. SEL Gate – Selects the gate setting for the selected channel.
6. ON – Turns the gate on for the selected channel.
7. Mode – Selects the mode of the compressor (Corrective, Adaptive, Creative and Vintage) or gate (Gate or Ducker).
8. Attack – Controls the attack settings of the gate or comp.
9. Hold – Controls the hold value of the gate. Hold is the amount of time the gate is open until the release part of the gate starts.
10. Release – Controls the release characteristic of the gate and comp.
11. Range/Ratio – Range relates to the gate and controls the amount of signal allowed to pass when the gate is closed. Ratio relates to the comp. With a ratio
setting of 3:1 for every 1 dB above the threshold point the signal will be turned down or compressed by 3 dB.
12. Threshold – Adjust the point at which either the gate opens, or compression starts to take place.
13. Knee – Changes the compression knee setting (Hard, Medium or Soft).
14. Make-Up – Adds gain to the compressors output. This allows you to balance the levels of the compressor when on and o by increasing the make-up gain to
match the amount of gain reduction taking place. (Range 0 dB to 24 dB).
15. Sidechain Frequency – Set the frequency that the sidechain of the gate or comp listens to in order to give tighter control of a certain range of frequencies.
16. On – Turns the sidechain of the gate or comp on/o.
17. Listen – Sends the selected sidechain frequency to the solo bus for monitoring and to give accurate adjustment.
18. Width – Changes the width of the sidechain frequency for the gate and comp (0.1 Oct, 0.3 Oct, 1 Oct and 2 Oct).
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Phones
1. Phones A – Level control.
2. Phones B – Level Control.
3. Phones A – Mute button.
4. Phones B – Mute button.
Talk
1. Talk Gain – Adjust the gain of the surface Talk Mic input.
2. Talk Mic – XLR input for local talk mic.
3. Talk INT (Internal) – Allows the talk mic to be sent to the internal talk bus. For example, it can be used to send your talk mic into a channel to test signal ow.
4. Talk EXT (External) – Allows your local talk mic to be routed to the Ext Talk.
5. OSC INT – Activates the oscillator on the selected internal bus.
6. OSC EXT – Sends the oscillator to the Ext Talk bus. This can be used to send the oscillator to a channel if required by patching the Ext Talk out in the monitor
patching page to a channel.
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Solo
1. A PFL – Any input routed to the monitor A bus is pre fader.
2. B PFL – Any input routed to the monitor B bus is pre fader.
3. A PFL – Any output routed to the monitor A bus is pre fader.
4. B PFL – Any output routed to the monitor B bus is pre fader.
5. Add (A) – Additive mode allows more than one input channel to be listened at once on the A solo bus.
6. Add (B) – Additive mode allows more than one input channel to be listened at once on the B solo bus.
7. Clear (A) – Clears any current solo A selections.
8. Clear (B) – Clears any current solo B selections.
Main Bus
1. Pan – Controls the position of the signal in the stereo eld.
2. Delay – Adjusts the delay time for the selected channel.
3. Mono – Adjust send level to the Mono Bus from the selected channel.
4. Stereo – Sends the selected channel to the Stereo Bus.
5. On – Turns the selected channel’s delay time on.
6. Mono – Sends the selected channel to the Mono Bus.
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Monitor
1. Out Swap – Completely swaps the A and B Monitor busses over meaning A becomes B and vice versa. For example, this allows you to hear a wedge monitor mix
on the in-ear monitor bus if desired without having to re-patch.
2. Talk Back – Allows the rear line level talkback input to be directly inputted into the Monitor A bus.
3. Talk Bac k – Allows the rear line level talkback input to be directly inputted into the Monitor B bus.
4. ST – Routes the stereo bus to the monitor A bus.
5. ST – Routes the stereo bus to the monitor B bus.
6. DIM A – Turns the level of the Monitor A bus down by 6 dB.
7. DIM B – Turns the level of the Monitor B bus down by 6 dB.
8. Mute – Mutes the Monitor A bus.
9. Mute – Mutes the Monitor B bus.
10. Monitor A Metering – Stereo 20 LED meters, -36 dB to 21 dB.
11. Monitor B Metering – Stereo 20 LED meters, -36 dB to 21 dB.
12. Monitor A Level – Level control. Maximum level 10 dB.
13. Monitor B Level – Level control. Maximum level 10 dB.
14. C/O – Sends the monitor A level control to the fader directly below for easy adjustment.
15. C/O – Sends the monitor B level control to the fader directly below for easy adjustment.
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Master
1. Master Mute – Mutes the Master Stereo Bus.
2. Mono Mute – Mutes the Mono Bus.
3. Master Meters – Stereo 20 LED meters, -36 dB to 21 dB.
4. Mono Meter – 20 LED meters, -36 dB to 21 dB.
5. Master Stereo Bus Level – Level control. Maximum level 10 dB.
6. Mono Bus Level – Level control. Maximum level 10 dB
7. C/O – Sends the Master Stereo Bus level control to the fader directly below for easy adjustment.
8. C /O – Sends the Mono Bus level control to the fader directly below for easy adjustment.
Navigating via the GUI Menu Bar
The top menu bar in the GUI is where various dierent pages can be selec ted. These include workows (such as Automation, FOH, Channel View etc) and tools (such
as Navigation, Patching, Groups, Naming and Manchino). There are also buttons for Flip mode, Virtual Sound Check and Current Scene (if an automation le is loaded).
The top bar menu can be customised if desired (found in the Console Menu in the Side Bar Menu).
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Side Bar Menu
To the right-hand side is the side bar console Menu icon. When selected it opens the side console menu with various options. This is a xed list. At the top is the
Customise Toolbar where the late out of the Menu Bar can be changed explained in Chapter 31.
1. Current User Prole – Press to go to the User Prole Login Page.
2. Groups – Set POP, VCA, Mute and Talk Groups.
3. Shout Conguration - Set up for the 16 x 12 shout mixer.
4. Naming – All channels types can be named in this workow.
5. Patching – Set your I/O and other patching.
6. Eects Rack – Overview of all the eects currently used in the system.
7. Expansion Cards – Settings for the 2 x CM 1 slots and 2 Ultranet ports.
8. Preferences – Settings for the console can be found here.
9. Show Manger – Load a new show or change the playlist. The Show editor is also in this page.
10. Navigation – Surface set up for Fader Banks and Assignables.
11. File Manager – Import/export of les plus spreadsheet import of settings.
12. Update Manager – All system and I/O updater pages.
13. Service Page – For Midas use only.
14. Shutdown – Long press to turn the system o.
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Widgets and Rotary Controls
A widget is a component or self-contained window within the GUI that enables a user to perform a function. It displays various information about the console’s status.
This is the heart of function control and makes rapid adjustments of parameters quickly available to the engineer. Within each widget on the left are several dierent
areas or pages to access dierent parameters. Each area then has further option tabs across the top of the window for various dierent types of parameter control. In
addition, there is the Channel View which gives the user a more overall view of a full channel and Console View which shows an overall view of a console set-up.
Note: if a channel is soloed the icon will turn yellow as shown below.
Press and hold any rotary control within the widget GUI area will result in a pop-up rotary control. By moving your nger around this rotary pop-up, you can adjust the
parameter with large steps or values. Slide your nger further out from the centre of the rotary pop-up and the response of the displayed control will become ner and
values won’t change as quickly to allow more accurate and detailed control.
Slide your nger to the padlock in the centre of the rotary pop-up and it will “lock” to the screen. Once locked the rotary pop-up can be freely moved around the screen
by dragging it with your nger and will not close until it is removed or un-locked. To remove the locked rotary pop-up simply tap on the X in the centre to remove
it. If you change the selec ted channel the locked-to-screen rotary pop-up changes to the selected channel. An unlimited number of dierent rotary pop-ups can be
locked to screen if required.
Tip: This is a great function to quickly set the gains for channels in a line check by selecting each channel in turn and adjusting the “locked-to-screen” rotary or to
adjust the Comp threshold of each output as you select them. All rotary functions can be locked to screen.
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Workow Modes Overview
Workows are a group of dierent widget arrangements. Each tailored towards a dierent application or type of function. Up to 4 widgets can be accessed
within a workow.
Workows are selected by tapping the icon in the top bar menu. To change the order of workow press Menu in the top right of the touchscreen, then press Customise
Toolbar. This will open the custom toolbar page. You can now freely drag and drop icons to suit your personal preference.
Home workow
Home view can be changed to display your preferred workow view when the HOME button is pressed on the surface or on screen. By default, the HOME view is set to
Multi View. This can be changed in the Navigation workow, by selecting any view from the Home Button Target list.
Overview
1. Inputs 1-96 on the 1st tab with inputs 97-144 on the 2nd tab. Auxes 1-96 on the 3rd tab and Matrices & Masters nally on the 4th tab.
2. Select VCA or POP group (via the 4 tabs)
3. Select Aux or Matrix sends via the tabs which display in fader/channel overview area
4. Change the selected widget layout.
5. Input Navigation to the left which enables the choice of dierent banks of 8 channels at a time. Touching any bank will bring up to 16 or 24 channels of
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information to the surface and GUI (depending on mode selected) - the selected bank of 8, plus the following 8 or 16 paths.
6. VCA and POP Group Navigation selection is another way in which to bring channels to the surface and touchscreen overview area. Simply touch the required VCA
or Pop to have its content instantly appear on the surface. Long pressing the POP group or VCA button will quickly open the group assign page.
7. Aux/Matrices selection. - When ip mode is active this becomes a quick way to adjust levels to an aux mix quickly by touch selection, perfect for monitor
engineers. If you select when not in ip mode it will bring that channel (and subsequent channels) to the surface.
The two widgets in the lower part of the touch screen can show various functions for the selected input or output. For example, the left side widget can display the
Input EQ while the right-hand side shows Aux compression settings. These two widgets are the same for all HOME pages listed below. They will be hidden if the
channel overview/GUI fader bank is in use.
Side Bar Pop Op Display
If the GUI channel fader/ Channel overview area is displayed (faders up) in the Home workow, touching a physical surface control will activate the side bar pop-up
display. This will display either the Pre-amp, EQ, Dynamics and Master bus functions and lets you see the information for the physical control you have touched.
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Tags and Pops
1. The Tags and Pops page allows you to call dierent groups of channels based on user-dened tags which you can create yourself or by pre-dened System Tags.
For example, use the system tag 48v to instantly see all channels with 48v.
2. The currently selected tags are highlighted to show they are active.
3. Any channels containing the selected tags will be displayed in the banks ready for selection. When a bank is pressed it becomes active via the GUI faders and the
surface for quick manipulation.
4. When Match All button is active all contributions must have all the chosen tags attached to them to be displayed. E.g. if 48v and EQ on are both selected only
contributions with both 48v and active EQ will be displayed in the bank display directly below. User tags can be used in a variety of ways to organise inputs and
outputs to suit your working preferences.
Clipping Channels
1. The Clipping channels section is located in the centre. This allows any channels that hit the set clipping threshold and number of occurrences (see Clipped
Channels Section) of clipping to be brought to the surface and screen quickly in case action needs to be taken to prevent further clipping or distortion. Clipped
channels are place in the 2 Area A banks in a standard set up. Touch any bank to make it active on the surface and in the GUI.
2. The Clear button resets the displayed clipped channels.
3. The Trim -0.5 dB button turns the trim down by -0.5 dB on all clipped channels displayed. This is an easy way to reduce the trim of multiple clipping channels
at once.
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To the right is POP Groups Navigation. A place to recall pre-dened groups of channels to the surface, layer overview and touch screen faders. The banks can be swiped
through to reach all channels and VCAs.
Bus Setup and Outputs Management
This page allows you to change multiple output settings at once. For example, it can be used to mute outputs, set all output levels to 0 dB or to send the oscillator to
any output you wish to test.
1. Tab between Auxes or Matrices.
2. Solo selected Aux or Matrix.
3. Mute selected Aux or Matrix. Interrogation of mute status by press and hold function.
4. Fader level for selected Aux or Matrix.
5. Level change selection. Absolute changes all levels to the same value once the control is turned, Relative (level change is relative to original value with a + or –
oset) or Pass-thru (action only takes eect when original level is passed, then level control is taken over by the control).
6. Turns the currently selected Auxes into Groups (Matrices cannot be turned into groups).
7. Turns an Aux into a Flexi Aux (this allows Flexi Aux to Aux routing for group/stem style mixing).
8. Long press to make an aux mono (mono is default).
9. Long press to make an aux linked (odd to even only).
10. Long press to make two auxes into a stereo aux (odd to even only).
11. Toggles Talk on/o for selected aux busses.
12. Flip Mode on/o. This is the same function as the Fader Flip button in the top menu bar.
13. Solo Preferences page.
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14. Change page between Conguration Macros & the Oscillator tabs.
15. Talk/Shout source selection pop out.
16. Send Pan Link makes contributions follow the pan position of the channel they are derived from.
17. Choose the Talk or Shout Mixer (1-12) source.
Select the outputs you wish to change by tapping each one individually or select all outputs in that current tab by pressing and holding on one of the aux or matrices
displays. To remove individual outputs when all outputs have been selected, simply tap on that output. To clear all, press and hold on an output.
1. Turns internal oscillator on.
2. Oscillator level control.
3. Oscillator frequency control.
4. Turns on 1 kHz tone (auto switches Pink Noise o when active).
5. Turns on Pink Noise generator (auto switches 1 kHz tone o when active).
6. Talk Internal routes the talk mic to the internal talk bus.
7. Talk External connects the talk mic to the external talk output. The Ext output can be patched to any physical output.
8. System Routing pop out. Various destination can be picked to send the chosen talk bus too. Routing cannot be selected unless a Talk Internal or External has been
selected rst.
Meter Bridge
The Meter Bridge page can display metering for any inputs or outputs. The meters also show compressor and gate gain reduction of the selected channel. By pressing
on the corresponding input, output, POP or VCA, dierent combinations of meters can be viewed.
Note: In this example, VCA 1 shows a combination of input channels and output channels (the last 4 meters are Stereo Aux outputs).
1. Meter Bridge selection.
2. Fixed views of Inputs and Outputs. Press to view.
3. Selected meters area spilled to surface Area A.
4. VCA and POP group number selection.
5. Selection of meters by VCA or POP.
6. Activate Fader Flip mode.
Note: When a VCA or POP is selected it also spills to the area it is assigned on the surface.
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Channel View
The Channel View workow gives an overview of many parameters of the selected channel, be it an input or an output.
The top half of the page is for channel navigation.
1. Select to navigate via input and outputs or via groups (VCAs & POPs).
2. Channel Bank selection in blocks of 8 for inputs/ outputs or if in the group page for VCA or POP group selection. When any bank or group is touched the associated
channels will be displayed to the GUI and laid out on the surface.
3. Switch to Output banks view.
4. Widget overview. The selected widget will be highlighted in blue with its contents displayed in the main widget area to the right.
5. Main widget area where detailed changes can be made to individual channels.
In Channel View, the pull up fader tray is locked in the down position so only the path names and icons are displayed, but allows you to select channels as required to
aid navigation.
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Console View
The Console View workow gives you an overview of all the channels in the system in one place. This page is very useful for trouble shooting clipping channels or to
see if any inputs or outputs are muted (indicated by the meter outlined in red).
1. Layer selection tabs let you choose from Pops, Mute groups, Talk groups, Clipped Channels or FX Groups.
2. Group selection area lets you choose which group of channels to make active via the GUI and surface. Long pressing a POP group will quickly open the group
assign page.
3. Input Bank selection area. All available inputs can be selected here.
4. VCA selection tab. VCAs 1-16 or 17-24 can be selected here.
5. VCA selection. Pressing on any VCA button will bring any associated channels to the GUI and surface. Long pressing a VCA button will quickly open the group
assign page.
6. Output bank selection. All available outputs can be selected here.
7. Select to view Fader Level information.
8. Select to view Gain Attenuation of the channel gate.
9. Select to view Gain Reduction of the channel compressor.
In Console View the pull up fader tray is locked in the down position but allows you to select channels as required to aid navigation. If you touch a physical surface
control it will activate the side bar pop up to display the chosen control information. This works for Cong, EQ, Dynamics and Master bus functions.
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FOH View
The FOH Workow is a great place to mix a show giving easy access to the fader tray while still allowing full control of the navigation and input channel areas. When
the fader tray is lowered current scene and output information can be controlled making this a very exible view. The FOH can be found in the customise
1. Console navigation widget.
2. Input and Output information widgets.
3. Current scene automation events view.
Note: in the above example no outputs are selected.
The FOH Workow splits the touchscreen into 4 separate areas.
The top left area has the Console Navigation widget. To the left side you will see icons for Overview, Groups, Tag Layers, Clipped Channels and Flip Target. This allows
swift access to any input or output by touching the bank of paths you require.
The Overview page lets you choose from all the available paths and are arranged in tabbed groups for quick access.
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The Groups page includes POP and VCA group selection.
The Tag Layers page lets you pick from System Tags or Suggested Tags as described in the Home workow.
The Clipped Channels page allows all clipped channels to be viewed in one place. The Trim -0.5 dB button reduces all clipped channel trims by -0.5 dB to avoid
distortion. The Clear button resets the clipped channels view to show no channels (if channels clip again, they will be displayed).
The Flip Target page is a quick way to select an Aux or Matrix. Used in conjunction with Flip mode it allows aux mixes to be ipped to faders for quick level changes.
To the right, both top and bottom widgets show input or output information. These handle all Conguration, EQ, Gating, Compression, Eect inserts and Send &
Matrices/Contributions. These widgets are described in detail in the basic operation chapter of this manual.
Bottom left is the Current Scene page which shows events or notes for the currently loaded scene. See Chapter 19: Automation (Scenes and Shows) for more details.
Automation View
This workow has the same Console Navigation widget in the top-left side as the FOH Workow. Directly below is the selected channel detail widget.
The HD96-24 has a powerful scene-based automation system. In order to understand how the system works it can be broken down into the following structure:
1. Show – The whole of the system is stored as a Show, including all global settings, Playlists and Scenes. A show is used to transfer the current set up to a
dierent system.
2. Playlist – A user-dened list comprising of some or all of the available scenes in a specic order.
3. Scene – A snapshot of the console settings taken at one point in time. A scene can be updated, duplicated or deleted if needed.
4. Library Preset – A individual element within a channel, an eect unit’s settings or a whole channel strip can be saved to a library and loaded into a similar type
of channel or eect if required.
5. Events – Various functions can be triggered with scene recall. Currently only MIDI events are implemented.
For more information on how automation works please see the Automation section of this guide.
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Navigating via Touch Screen Faders
The touch screen has a set of 16 faders which can be used to adjust any levels. Fader values are shown under the channel name. If a channel is stereo both left and right
fader levels are shown as two blocks
To change a level simply touch around the fader cap and move your nger up and down. The GUI faders are extremely responsive, highly accurate and with greater
resolution than a physical fader. An upper limit of 10 faders can be moved at any time for maximum hands on control. The touch screen faders are available in the
Home, FOH and Automation workows. The fader tray is locked down in Channel View and Console View.
When a fader is selected it is possible to tighten the accuracy of the fader by dragging your nger outwards to either side fader or faders you have held. This allows
ne adjustments of critical levels. While dragging your nger outwards the fader is locked so that accidental level changes can’t occur. This rule can be broken if you
move your nger more than the predened tolerance. Both hands can be used at once independently. This means you can move multiple faders with one hand while
tweaking a ne fader level with the other hand.
The on-screen faders, layer overview and Mute/VCA assignment page area (which all have their own icon) can be hidden using the pull-down icon revealing another 2
widget areas.
To bring input or output faders to the GUI, either use the various banks in the Console Navigation widget or use VCA or POP (POPulation) groups to allocate pre-dened
sets of channels to the sur face.
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Navigating via the Layer Overview/Channel Strips area
The Layer Overview area is where quick recall of input and output channel strip parameters can be used and recalled. It is only available in the Home, FOH and
Automation workows.
Channel Strip View
By Pressing in each separate box of a channel strip, dierent information can be viewed in the widget detail area and channel detail area.
1. Channel Detail Area selection. Icon turns yellow if channel is soloed.
2. Channel Name and Colour Display. Display of fader level and send level if in ip.
3. Mute button.
4. Pan Position.
5. Conguration Widget selection.
6. Gate Widget selection (only for inputs).
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7. Compressor Widget selection.
8. Eects Insert Widget selection.
9. Equaliser Widget selection.
10. Channel Solo.
VCA and Mute Area
The 3rd page in the Layer Overview area is the Mute and VCA Contributions.
1. Selected channel information.
2. Mute Groups channel is assigned to.
3. Mute status. Red for Mute active.
4. VCA Meter.
5. VCAs the channel is assigned to.
6. VCA solo status. Yellow for current active solo.
7. View Change is only active if the channel is assigned to more than 8 Mute Groups or VCAs. Touch to toggle between 1-8, 9-16 and 17-24.
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When a VCA is added to a POP group, it can be displayed in the Layer Overview Area. Here channels assigned to the VCA are displayed.
1. VCA Name.
2. Channels assigned to the VCA.
3. Channel Mute status. Red for muted.
4. Channel Meter.
5. Channel Solo status. Yellow for current active solo.
6. Touch to toggle between 1-16 and 17-24. If VCA has over 16 member channels.
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Navigation via Global Assignable Shortcuts area
The Global Assignable Shortcuts in its basic form allows various groups of channels to be called to the surface, GUI faders and channel overview area. There are many
dierent options of how inputs, outputs and VCAs can be organised and recalled with a few button presses. This is fully customisable in the Navigation page.
The default options based on Pro Series Mode layout (Bank 1&2 Area A, Bank 3 VCA/Outputs and Bank 4 Masters) are:
• • All – Pressing the ‘All’ Select but ton cycles through every input or output of the desk bringing them to the rst 2 banks of the control surface and displaying them
on the GUI. The following buttons function in the same way but bring dierent types of paths to the surface.
• • INs – Cycles through all the inputs on the rst 2 banks of the surface.
• • OUTs – Cycles through all the outputs on the 3rd bank of the surface.
• • VCAs – Cycles through all the VCAs on the 3rd bank of the surface.
• • TAGs – Cycles through all the currently selected TAGs on the rst 2 banks of the surface.
• • System Tags – Cycles through all the currently selected System TAGs on the rst 2 banks of the surface.
• • All Contribs – Cycles through all the current contributions on the Area A of the surface.
Tip: A contribution is any channel type that has already been sent to an output bus. i.e. Input to an Aux or Aux to a Matrix.
The Global Assignable Shortcuts area also gives you access to many powerful functions with one button press such as ring scenes, entering ip mode or recalling POP
groups. Macro functions such as changing the console layout mode or eect Tap Tempo control can also be deployed here to give the engineer vital tools, quickly to
hand. Imagine the power of being able to instantly swap the vocal level, compression setting and EQ of two singers if they switch mics mid show, all with one button!
Navigation via Pinned Fader and Assignable Controls
It is possible to pin a channel or path anywhere on the surface, so that the path remains xed to a certain position despite swapping layers. For example, keeping your
lead vocal close to hand or a crucial aux send.
How to pin a path:
First, using the Assignable Controls arrow buttons, navigate to Find/Pin. Then the assignable control buttons under the rotary can be used to select the corresponding
channel or path that you wish to pin to the surface. Use the rotary control to select any channel you wish to pin in that position. When the channel pin is activated the
chosen path will remain in place regardless of any bank or channel changes from either the surface or GUI and a pin icon will be displayed by the path name on the LCD
fader screen.
To remove a pin simply press the associated assignable button again.
For more information on these powerful functions refer to Chapter 18: Assignable Controls and Global Assignable Shortcuts.
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Flip Mode
Flip provides a more global approach to aux/matrix mix bus level control. In Normal operation you can only use the level control knobs in the assignable strips or
the Sends & Matrices widget to adjust the signal level of the paths contributing to the aux/matrix channels. However, by engaging Flip Mode you have the option of
controlling them from the surface or GUI faders.
To congure Flip Mode:
1. In the GUI, select Flip from the top menu bar. The button will illuminate green to show you are in ip mode.
2. Alternately in the Shortcuts area it is possible to assign one of the 12 shortcuts to toggle ip mode. The shortcut button will illuminate green to show you are in
ip mode. Another way to ip is in the workow Home or Monitors which also have a green Fader Flip ON button.
3. To ip mixes to fader control, select an output on the control surface or via the GUI. The currently selected mix bus will be ‘ipped’, and the fader LCD screens will
display the target output bus.
One Shot Pot
The One Shot Pot allows any rotary function to be automatically assigned to the 8 vertical assignable controls. There is the ability to pin these selected rotaries in place.
Up to 8 parameters can be pinned at any one time. An example of this could be pinning the input compressor threshold control or Aux EQ band one gain control. If you
select dierent paths the One Shot Pot function will show the value of the currently selected path(s).
Auto Mode populates rotary controls to the sidebar for the currently selected widget or FX as follows:
• • Cong tab - Gain, Trim, Delay, Pan, Mono Level, Fader Level
• • EQ Tab - Controls for selected frequency band
• • Gate - all controls + sidechain frequency
• • Comp - all controls + sidechain frequency
• • Sends - level and pan
• • Bus Setup - Fader level
• • Patching - Gain (when selected)
• • All FX - All fader/rotary controls
If there's more than 8 controls in an FX use the left and right arrows to access the extra controls.
Input and outputs are treated separately, for example, if you wanted compressor threshold for both Inputs and Aux Outputs you would have to pin both threshold
controls to the vertical user assignable area.
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To use the One-Shot Pot:
1. Navigate to the Assignables Page in the side bar menu using the arrows.
2. Select the rotary control you wish to use (must be visible on the GUI) which automatically places the rotary control to the rst vertical assignable.
3. The button to the right of the assignable control turns green when pressed which pins the selected function to the assignable control. Pressing the button again
clears the Assigned control.
Clipped Channels, fault nding a problem channel
The Clipped Channels page displays all channels whose level has exceeded the pre-dened threshold more times than the set number of occurrences.
1. Threshold can be set by tapping and changing the value with the pop-up keypad. Any channel clipping above the set threshold more than the dened number of
occurrences will be displayed here.
2. Occurrences sets the amount of times a channel has to clip in order to appear in the clipped channel banks list. This is sample based so one clipped bass note could
be several samples.
3. Bank selection based on the order in which channels have clipped.
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4. The Trim -0.5 dB button turns the trim down by -0.5 dB of any clipped channels displayed. This is an easy way to reduce the trim of multiple clipping
channels at once.
5. The Clear button resets the displayed clipped channels.
Console Layout Conguration (Navigation)
The HD24-96 can be fully customised to match your workow preferences. The Navigation page can be accessed from either the top or side menu bar, you have the
option to either choose from the available standard layouts (not editable) or creating your own user layout.
1. There are 5 default preset layout choices, all 5 are read only and cannot be edited (described in detail later in this section).
2. Custom Layouts are displayed here.
3. Delete the selected custom workow with a long press.
4. Duplicate selected workow.
5. Edit allows you customise the surface layout/workow.
6. Create or a add a new workow.
7. The 4 banks will show what type of information they will display (Area A, Mons, VCAs or Custom etc)
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8. There are 3 areas into which layout presets can be assigned. Press the layout icon preset you wish to use, then drag to one of the 3 positions available.
9. Each workow can be assigned to one surface layout only by pressing the associated button in each of the 3-surface layouts. A blue highlighted button shows
which workow will use which surface layout. For example, in the example above, selecting the Home, Front Of House or Automation workows will display paths
using Pro Series Mode layout; Console View will use a user-congurable custom layout, and Single Channel will use the Theatre Mode.
10. User layouts can also be edited when in use by pressing the Edit button.
Tip: Area A assigns inputs or outputs chosen via the GUI or surface to be displayed on both the sur face faders and GUI with one touch and give the most
intuitive operation.
Note: Custom surface layouts are automatically stored to the mCloud to be freely used in other shows.
There are 5 standard Workow options which display the following paths on each of the 4 fader banks:
Workflow Bank 1 Bank 2 Bank 3 Bank 4
Pro Serie s Mode Area A Area A VCA/Outputs Masters
HD24 Mode Area A Area A Area A Masters
Monitor Mode Area A Area A Outputs Masters
Theatre Mode Area A VCAs Outputs Masters
VCA Mix Area A Area A VCA s VCAs
Creating a Custom Layout
To create your own custom layout press, + Add or select an existing layout to Duplicate the selected layout.
Selecting a custom layout and pressing edit will open the Sur face/Screen Layout Preview page below.
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In the Custom Surface Layout Presets page you can also touch the name area to edit its title.
There is the option to Cancel Changes or Store Changes & Save.
Surface or Screen Setup lets you choose which part of the console you would like to congure. By default, the screen defaults to Area A.
In Bank selection you can freely pick and choose which way you would like the banks to operate. There are 7 Congurable Options plus customised banks options.
1. Area A
2. VCAs
3. VCAs/Outputs
4. Outputs
5. Masters
6. Contributions
7. FX.
Tip – A contribution is any channel type that has already been sent to an output bus i.e. Input to an Aux or Aux to a Matrix.
There are 3 custom bank layers that can contain any combination of inputs, outputs or VCAs which can then be assigned to any bank from the Custom Bank Slots on
from the left-hand side up to can be lled in one Custom Bank. Simply select and long hold the image of the function you wish to assign to a custom bank and drag
to the position you wish it to be. Custom banks automatically link. For example, if you add 8 channels to Custom Bank 1 in Bank 1 and 8 channels to Custom Bank 1 in
Bank 2. Those 16 channels will be displayed on the sur face in banks 1 and 2.
In the Bank/Screen Setup page choosing Screen Selection lets you edit the layout of the 2 banks that can be displayed at any one time on the console screen. The same
7 bank options plus 3 Custom Banks, as found in Bank Selection are available for you to use. However, in normal operation, it is recommended that the screen GUI is set
to Area A so that any selected inputs or outputs can be automatically viewed and edited via the touch screen.
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Chapter 7. Patching
This chapter describes the patching feature of the system.
Introduction
Patching is a GUI-only feature that lets you carry out all system routing requirements.
This includes:
• • Patching audio from the on-board I/O and external I/O units into the console (Inputs, Direct Inputs, Insert Returns).
• • Patching audio from the console via the on-board I/O and external I/O units (Outputs, Bus Outputs, Direct Outputs and Insert Sends).
• • Purely internal routing, such as compressor sidechains, external gate triggers and routing to internal eects rack units etc.
• • System path setup such as talkback, shout outputs, monitoring routing, solo bus inputs, external monitor inputs etc.
The GUI top bar menu has a Patching icon that takes you to the patching screen. This contains all of the available patching connectors in the system. This screen
provides an easy-to-use interface, where you can selec t your source and destination patching options, facilitated by a panel of function buttons. Additionally, the
Patching screen lets you set up the I/O units (devices). For example, you can globally adjust the analogue gain or select +48V phantom voltage for all 24 microphones
at once on a DL231 mic box.
Terms used in patching:
The following is an explanation of the patching terms
Destination: The patch connector to which a signal is routed.
Patching: The process of routing a channel/signal from a source to destinations.
I/O Box: An external input and/or output hardware box such as a DL231 or DL151 to increase the systems physical connections. There are 4 AES50 ports on the console
rear for I/O expansion plus 16 more AES50 available via the 2 HMAC ports.
Device: A block in the I/O tabs that represents a physical rack unit, such as a mic splitter (DL231 etc) or Generic AES50 port.
Tab: A ‘sheet’ in the local, remote or internal page that contains a specic group of patch connectors.
Patch connector: Any patching point where audio can either be sent from or sent to, for example, an XLR connec tor, Output Bus, sidechain compressor etc.
Dragging: A method of selecting a block of source patch connectors from one side of the patching by swiping your nger across any channels you wish to select.
Press and Hold: Long pressing any connector on a remote or local device will select all connectors within the current page.
Local: External I/O connected directly to the surface.
Remote: External I/O connected via HyperMAC (using an DN9680) to either of the snake connections on the console rear.
Internal: Access to all the internal patching within the system (Inputs, Busses or Direct Outs etc).
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About the Patching screen
The Patching screen can be broken down into three main areas types:
1. The function button panel at the top of the GUI has buttons for Unpatch and Locked. To make any patch changes press the Unlocked button. Note: if you navigate
away from the patching workow the page will automatically lock. Locked mode is a good way to see where patches have been made without accidently
un-patching a channel.
2. The patching areas provides access to all the patch connectors. The two patching areas on both sides can be used in a left to right style to make patches to external
devices or internal func tions such as sidechain or tape returns. The patching area is split equally into two independent sections, which contain the source and
destination patch connectors, respectively. The patch connectors are grouped on pages according to type. Only one page per section will be visible at any time and
selected via t ype or channel number depending on the page and type of device attached.
3. External I/O tab menu. The I/O tabs represent the systems internal patchable items, stage (Remote), 2 x CM-1 slots and FOH/Monitors (Local) racks. Each box
shows the internal and external patchable items devices connected in those racks when selec ted.
Note: Each time you access the Patching page, the Locked button will be red, and the page will be display-only. This is a safety precaution to prevent any accidental
changes. Before changing any patching, you will need to tap this button, so it turns blue to unlock the patching functionality.
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Adding new I/O Devices
Press the + sign to add new I/O boxes. A list of currently supported I/O will appear. Select the type of I/O box required by pressing on the corresponding button. Or use
the Auto Detect function which will add the correct I/O device type.
NOTE: The DL231/431 has two preamps per channel (A&B) to use the B pre-amp connect to the B (X&Y if using redundanc y mode) AES50 connections on the back of
the DL231/431. It is not possible to change which preamps (A or B) are used in the HD software.
I/O with inputs and outputs will be displayed in dierent named tabs. Inputs on the left, outputs to the right.
NOTE: The DL 251/252 use two AES50 ports. One I/O device should be added, and two ports (1&2 or 3&4) assigned in the edit I/O box.
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Conguring the I/O rack devices
The DN9680 will require updating to the latest version from the mCloud in order to work with the HD system. After the update the HD system will install future
updates when required. When a DN9680 is connected to Snake port 1 or 2 the 8 AES50 ports can be assigned by pressing the I/O device edit button and selecting the
corresponding por t. Each Snake connection can be connected to a DN9680 allowing up to 16 AES50 ports to be used.
To edit an I/O device:
1. Select the device from the list.
2. Press Edit.
3. Press in the Name area to call the device a name, in this example IEM RACK.
4. Chance the Device Model if required.
5. Set Port Number, Either FOH 1-4 or Snake 1 or 2 (1 to 8).
Note: If a 251 or 252 rack is connected two ports will be required to be set up. In this example, Snake 2 Port 1&2 have been congured.
Removing I/O Devices
To remove a I/O device:
1. Select the device you wish to remove from the list on the left
2. Press and hold the Remove button until the line traces around the outside.
The I/O device will be removed from the list on the left and all patch information will be lost.
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Internal Patch Points
There are many sources that can be patched in the HD24-96 system. Below is a list of patchable items. These pages are available on both side of the patching screen
when appropriate. The list is ltered to show the available patching destinations for the tab you have currently selected:
1. Busses – Output busses (Aux, Matrix and Masters) pages.
2. In-Direct Out – Input channels, direct output pages.
3. Monitor Out – Talk back and monitor A/B patching page.
4. Insert Send – The send patching point of a channels insert pages.
5. Shout Mixer Out – Patch the 12 outputs of the shout mixer.
Internal Patching Destinations
1. Inputs – Console inputs
2. Tape Return – Input channels, tape returns pages.
3. Compressor SC – Input channels, compression sidechain input pages.
4. Gate Key – Input channels, gate key input pages.
5. Direct In – Output busses, direct input pages.
6. Monitor In – AFL, PFL, External and Talk back patching page.
7. Insert Return – The return patching point of a channels insert pages.
8. Insert Return B – The return B patching point of a channels insert pages.
9. Shout Mixer In - The 16 inputs to the shout mixer.
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Internal FX
The internal Eects can be patched from the patching page to various destinations, the 24 slots are freely patchable. Up to 8 dierent destination can be patched per
slot depending on the type of eect used. Until an eect is placed in a slot it is not patchable. The name of the eect will be displayed to show it is present in a slot.
Note: It is easier to patch eects in the Eects Rack or directly from the channel.
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CM-1 Port Patching
The two CM-1 ports can have dierent types of I/O cards tted. Current expansion cards are:
1. AES50 (48 Bidirectional Channels).
2. Dante (64 Bidirectional Channels).
3. MADI (64 Bidirectional Channels).
4. USB (48 Bidirectional Channels).
The two CM-1 ports will appear in the patching list and will automatically be recognised by the type of card tted. They can be freely patched as required using the
same patching method as described earlier in this section. If 96 kHz is used the above channel counts are halved.
Tip: This is a great way to multitrack record a show to an external computer and use the recording for virtual soundcheck.
Patching tips
Single patching
To patch a single source to a single destination
The following example shows you how to patch an output from a mic splitter such as a DL231 to an input channel. Make sure the patch area is unlocked.
1. Select the source patch connector. For example, in the Remote I/O tab of the lef t side section, click the rst patch connector XLR1 of DL231 I/O. Its background will
change to blue.
2. Select the destination patch connector. For example, in the Inputs tab of the right-side Internal section, click the patch connector for input channel 1. It will now
be patched to the source and will change to solid green to indicate the patch has been made. If the new patch is carrying a signal there will be a meter shown on
both patch points (unless the connection is Generic AES50), and this audio may be heard, depending on the settings of the control surface.
Note: A quick way to see if any connector is patched to any destination in the system is to look for a green outline around the connector icon.
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To patch a single source to multiple destinations
1. Patch the desired source patch connector to one of its destinations, as detailed in “To patch a single source to a single destination”.
2. In the inputs section, select the other destinations. They will illuminate green to indicate they are patched.
Multiple patching
If you would like to make a number of patches, and each has only a single destination, you can use the multiple channel function. All of the source patch connectors are
selected in the Device section (Remote or Local) before being patched either by dragging across the connectors, selecting one by one or by pressing and holding to
select all inputs (unwanted channels can be deselected af ter selecting all if desired).
You can only select one block of sources at a time. Destinations are restricted to a single type (for example, inputs). The selected destination forms the start of the
automatically patched range of destinations. Sources and destinations are automatically patched in ascending order, the lowest numbered source and the selected
destination forming the rst patch. Sources will only be patched up to the highest numbered destination of the current destination type.
For example: drag your nger over inputs 1-16 in sequential order on the left side of the screen, and then tap output 9 on the right side of the screen. 1-16 will be
patched to 9-24 in sequential order (so 9 to 16, 10 to 17, 11 to 18 etc).
Unpatch
To undo or disconnect a patch, select the connector you wish to unpatch, then press the Unpatch button. The orange colour will disappear to indicate the patch has
been broken. Multiple connectors can be selected and unpatched at once if required.
Note: if a source is selected and patched to multiple channels or destinations clicking on Unpatch will result in all its destinations being unpatched. If you wish to
remove the mic preamp from one destination and keep all over patches, click in the Inputs section on the left side of the screen and unpatch them individually.
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Channel Detail and Action Area
When a channel of an I/O box is selected in the patch window, its patch information will be displayed in the bottom section of the GUI. There are several actions that
can be altered if the connected I/O box has that functionality.
1. Patched To - The destination(s) of the currently selected mic pre are displayed here.
2. 48v - Applies phantom power to the selected mic pre.
3. Gain - The gain of the mic preamp can be controlled from this section.
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Chapter 8. Basic Operation
This chapter is intended to familiarise you with the HD96-24 by showing you how to carry out some basic operations.
Scene and show management (Automation)
Automation lets you manage show les and the scenes contained within using user-dened playlists.
To create a show:
1. In the top bar menu press the blank area to the left of the Menu button (name of current active scene is usually displayed here).
2. In the pop-up window press Show Manager.
3. Press the + New symbol to create a new show. Enter a name and press create.
4. Select the show name you wish to open from the list.
5. Press Open to load the selected show , see show Load Options later in this guide.
6. Tap on the name area to edit the text or click on the icon area to change the image. Tags can also be added to the show le here for easy tracking of les. Notes can
also be added in this area if desired.
7. A show can be exported to a USB device.
8. To archive any show (available in your mCloud account if required), select the show name and click the Archive button.
Note: Opening a show does not load a scene. This needs to be completed after a show has been opened.
Please refer to Chapter 19 Automation in the user manual for more information on scenes and the automation system.
Clear the Console
To clear all scene data and current channel settings of the system:
1. Create a new show.
2. Open the new show.
3. Recall the Master Scene. The system will now be cleared of all channel and scene data plus all patching.
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Saving and Loading show les to a USB memory stick
To save your work to a USB Stick, rst Insert USB stick into the front surface USB port. Navigate to Show Manager from the Automation window in the top bar menu or
from the side bar menu.
1. Select the show you wish to export.
2. Select the location on the USB stick and press Export to complete the operation.
3. Press Copy to USB, the exported show will appear in the list.
To import a le from a USB stick:
1. Navigate to the File Manger page (found in the side bar menu)
2. Locate the le in the USB stick area
3. Press Copy To Console to move the le into the Console list.
Note: This does not open the show. It just copies a version of the show to the console in order to be loaded.
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Saving and Loading show les to the mCloud
Once you have logged into your mCloud account on the console all your show les will be available in the Show Manager list. With Auto Save active every time a scene
is saved the show will be saved and also pushed to the mCloud. To load a le, select it and press open. The open show box gives you the option on how the system
will load.
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Save & Mark
If at any point you wish to save your currently loaded show, the Save & Mark button can be used. This function lets you save your work during the day, for example post
sound check, then post show. This allows you to use the rollback function if needed to restore an earlier version of your show le:
1. Press the Save & Mark button.
2. Enter a name that will help you remember the current scenario.
3. Press Save & Mark to complete the operation (or cancel if you do not wish to proceed).
Note: Marked shows will appear in the Rollback list (the last 25 saves only) and in your mCloud account (all auto-saved shows and marked shows).
Rollback
The Rollback feature allows you to look at the last 25 times the selected show was saved. This gives you the option to either load an older version or create a new
show from the currently selected version. New shows will be named “Copy of …(name of copied show)”. Shows can be duplicated this way by selecting the last saved
version from the top of the list. Marked shows are indicated with a dot in the circle and show the mark information (End of Show etc).
The Show Markers tab displays only marked shows. Older shows can be also loaded, or new shows created from this page.
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Note: Only the last 25 saved shows will be shown on the console. Older versions will be available in your mCloud account where you can also delete shows if required.
Load Options
Safes can either be loaded from the show le or kept in the same state as currently on the console.
I/O Conguration can be taken from the show le or the currently loaded console setup.
Automate patching preferences:
Physical Inputs allows any XLR connection patch to an input on the console or I/O box to be stored and recalled in automation.
Internal Patching allows all internal patching to be stored and recalled in automation. For example, inserts, buses to eects and internal aux returns.
Physical Outputs stores and recalls any XLR connection patch information from an output on the console or I/O box.
Master Scene Lock preferences:
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The Master Scene by default is locked. Think of it as your default blank settings scene. When loading a show, you have 3 options.
• • Show – Load the state of the Master Scene Lock as stored in the show le (either locked or unlocked)
• • Locked – The Master Scene will be locked which means you cannot store over it.
• • Unlocked – The Master Scene is unlocked and can be stored to.
Note: The power of the Master Scene is explained in detail in Chapter 19 Automation.
Note: As a general rule, load Safes and I/O cong default to load from the Show le. Automate patching on and Auto-save are also active.
Naming Page
The HD-96-24 has several dierent ways to name inputs and outputs. The rst is in the Naming page which can be found in the top menu bar on screen and accessed
by touching the icon. Once in the Naming page all channel, auxes, matrices and masters can be seen. Tap on the input/output page then you can select which channel
you wish to name. Type the name in using the pop up on-screen QWERTY keyboard or via a connected USB keyboard if desired. Once you have nished naming the
item, pressing Return will automatically take you to the next item to be named. You can also select a colour at this point from the colour bar above, which will be
displayed on screen and on the fader LCD screens.
Inputs page selection.
Output page selection.
Channel name selection (keyboard will pop up on selection).
Naming area.
Channel colour selection area.
Pressing Return when a channel is named will take you to the next channel sequentially.
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Tip: The Groups workow is a great way of colouring multiple channels at once to increase workow set-up speed (details later in this chapter). The Manchino
workow also enables name inputting and easy manipulation of the same control across multiple channels. Groups of either inputs or outputs can be edited all at once
and is a very powerful way to make global changes in one operation.
Another way to name a channel is to navigate to any of the workows found in the top bar menu. There are several ways to navigate to the dierent channel, auxes,
matrices or masters by touching on the associated navigation block s.
Note: To name a VCA or POP group use the Groups workow.
In the Home workow you will nd input navigation in the top left widget and output selection can be found in the top right of the widget. To name inputs:
1. Touch the block named IN 1-8. This brings channels 1-16 on to the GUI fader/overview area.
2. Press the Image or icon on channel 1 in the GUI or press the SEL but ton of the corresponding path on the surface.
3. On the far-right side of the touch screen is the channel detail area, pressing the name in this area will open up the Channel List Naming Page. Channels can also be
named by touching the name in the widget area.
4. Touching the icon will open the image change page.
5. Touching in the tags are will take you to the channel tags page.
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There are three dierent pages to use, selected by the three icons in the middle of this display called:
1. Title.
2. Channel Tags.
3. Image.
Title
Here you can name and colour the selected path using the Qwerty keyboard and colour bar above the keyboard. Use the channel navigation to scroll through the
channel list.
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Image
Here you can select a suitable image to be displayed with the selec ted path. There are several categories of images and icons to choose from. This gives a quick visual
indication of the type of path when looking at the touchscreen.
Note: All the workows work in a similar way for naming purposes.
Channel Tags
The new concept of tagging channels greatly increases ease of navigation by grouping channels in dierent ways. There are limitless ways to use this function. Any
path can have multiple tags assigned to them. For example, all monitor wedge outputs could be tagged together for swift recall. For a large orchestra all the dierent
instrument sec tions can be tagged and within each section all dierent type of mics can be tagged for quick changes to be made. System tags can be used to quickly
see which channels have 48v applied, whether a channel has an active gate or if an eect insert has been enabled on a channel. Countless custom tags can be created
to use as you desire making this a ver y powerful and exible navigation system.
In the Tags Layers page found in the Home, FOH, and Automation modes, there is a choice of either System, Suggested or Favourite.
Suggested tags are built from tags you have previously used or assigned. Touching on a tag opens up a block showing all the channels associated with that tag.
Touching another tag will add any additional channels into the block section. Note that if a channel is in both tag groups it will only appear once.
System tags show common functions of the console and is a great way to fault nd. Tags are automatically assigned when the associated functions are used on an
input or output, for example turning a compressor on will add a Comp On tag to that path and remove it again when the compressor is switched o. When the tag
name is pressed the following useful information is displayed in the eight-section navigation blocks for easy recall to the surface. The list below is designed to aid in
nding problem inputs or outputs quickly:
• • Routed to Mono – When a channel is routed to the Mono Bus.
• • Patched – When an input or output is patched to a source or destination.
• • EQ On – When an input or outputs EQ is active.
• • Gate On – When an input channel Gate is ac tive.
• • Comp On – When an input or output Compressor is active.
• • 48V – When 48v Phantom power is enabled on an input.
• • Phase Ø – When an input or output has polarity (phase) reversed applied.
• • Insert On – When an input or output has its insert return switched in.
• • Routed to Stereo – When a channel is routed to the stereo bus.
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To add a tag to a channel. Select the Tag page by touching the image of the channel you wish to tag in the channel detail area. Select the tag or tags you wish to add.
They will appear at the top of the page and can also be removed by clicking on the X within each tag.
Favourite tags are displayed here automatically and can be cleared by pressing the corresponding X.
1. Tags can be searched and ltered by typing in the text entry eld.
2. Press + to create a new tag.
3. Match All means a path must contain all the chosen tags.
4. Clear all the currently selected tags.
5. Tags will appear here and can be used to recall the tagged channels to the surface quickly.
6. Channels with matching tags are displayed here in banks of 8.
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Channel Conguration (Cong)
First select the channel or output you wish to edit. In the channel or output widget the top option on the left is Conguration. This area has ve pages which can be
changed by touching the nex t or previous name in the list or by using the arrows either side.
For Inputs
Conguration
The Conguration page allows you to set many of the basic functions needed to start mixing audio.
1. 48 V.
2. Mic Preamp Gain (available when patched).
3. Digital Trim.
4. Ø (180° Polarity change).
5. Delay On/O. (max 50.0 ms).
6. Delay Time (displayed in milliseconds and meters).
7. Aux Return mode.
8. Talk On/O.
9. Stereo Bus (routes the channel to the Stereo Master Bus).
10. Pan (position within the Stereo Master Bus).
11. Mono Level.
12. Mono Bus (routes the channel to the Mono Bus).
13. Solo B (sets whether the channel will be soloed on the Monitor A or Monitor B bus).
14. Talk assignment (press to change to one of the 12 shout mixer paths).
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Setting a Pre-Amp’s input gain
The surface has two types of input level adjustment per channel, one is the remote Gain for the analogue microphone pre-amp (stage box gain) and the other is the
digital Trim (console gain). In the CONFIG section there are dedicated controls for both Gain and Trim. Adjustments of any selected channel Gain can be made here in
2.5dB steps for most I/O boxes (-2.5dB to +45dB for Gain and -40dB to +20dB for Trim). Both Gain and Trim values can be seen in the channel view widget which can
be automatically displayed when the gain or trim pot is touched.
Tip: Locking the Gain rotary to screen is a great way to quickly set the gains for channels in a line check by selecting each channel in turn and adjusting the
locked-to-screen rotary as required.
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Linking & Stereo
The Linking page is where channels can be set to be Mono, linked as two Mono Channels or combined on one fader to function as a fully stereo channel, plus which
channel parameters will be linked or act independently from each other.
1. Mono. The channel is Mono.
2. Link. Two adjacent mono channels linked together.
3. Stereo. Two adjacent channels linked as above but controlled by one a single fader. Use the SEL button to switch between the left and right view of the channel or
press the channel name on widget.
4. Pan position and meter information.
5. A choice of Independent or Mirror pan link mode.
6. Selectable options which will link or unlink various channel controls. See chapter 9 on Linking for more information.
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Patching
This page gives an overview of where the channel is patched to and from. It ’s a great place to check all connections are correct for the selected channel. Listed below
are the various options available to patch the selected channel to and from various internal sources and destinations or to external devices.
1. 48 V on/o.
2. Patch Source information. Press to navigate to the patching page (this is the same for all similar icons in the console).
3. Analogue mic preamp Gain (-2.5 dB to 45 dB).
4. Tape Return 48V (can be used as an alternative input source if required).
5. Tape Return patching information.
6. Tape Gain (-2.5 dB to 45 dB).
7. Compressor Side Chain patching information.
8. Gate Key patching information.
9. Insert Send On/O
10. Insert Send patching information.
11. Insert Return A patching information.
12. Insert Return B patching information.
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Direct Output
1. Choose the pick o point. Either Post Input, Post Processing or Post Fader.
2. Pressing Solo sends the direct output signal to Monitor A
3. If Solo B is active, Solo will send the signal to the Monitor B bus.
4. The Direct Out Mute button can only be unmuted if the direct output is patched.
5. Patch point information.
6. Direct Output level control (-inf to 10 dB).
7. Direct Output meter.
Options
1. Processing order can be changed by long pressing and dragging the icons. DYN, Inser t and EQ can be arranged in any order. It is possible to drag the Fader before
the Insert only for a post fader insert point (Fader can only be dragged before Insert).
2. Below are the channel automation safes. The options are All, Gate, Comp, Equaliser, Filters, Cong, Mute or Main Bus (Fader level, Pan position, Stereo Bus switch,
Mono Bus switch and Mono Bus Level control).
Note: When an automation safe is on, the parameters associated with that safe type will not be recalled when a scene is recalled.
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Conguration Pages for Outputs
Conguration (Outputs)
1. Digital Trim. Range is from -12 dB to +6 dB.
2. Ø Phase (180° Polarity change.)
3. Delay On/O.
4. Delay Time (displayed in milliseconds and meters, maximum 500.0ms).
5. Group mode (turn an aux into a subgroup).
6. Talk On/O.
7. Stereo Bus (sends the channel to the Stereo Master Bus).
8. Pan (position within the Stereo Master bus).
9. Level control to the Mono Bus.
10. Mono Bus (sends the channel to the Mono Bus).
11. Sends to Solo B for monitoring purposes.
12. Flexi Aux on (Flexi Aux allows group/stem style Aux to Aux mixing).
13. Talk Bus/Shout mixer output assign. (See Shout Cong for details).
14. Sends Pan Follow makes contributions follow the pan position of the channel they are derived from.
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Linking & Stereo (Outputs)
1. Mono. The channel is Mono.
2. Link. Two mono channels linked together; the faders can be linked by using the Fader option.
3. Stereo. Two linked channels controlled by a single fader.
4. Current pan position and level meter information.
5. A choice of Independent or Mirror pan link mode.
6. Options to link or unlink parameters when a pair of inputs are linked.
Note: Remember Outputs have to link odd to even. I.E. 1-2 or 9-10 etc.
Patching (Outputs)
1. Aux Compressor Side Chain patch information.
2. Send and Return compensation on/o. In general, this will need to be on in order to preserve audio time alignment.
3. Aux Insert Send patch information.
4. Insert On/O.
5. Insert Return A patch information.
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6. Insert Return B patch information.
7. Bus Output mute.
8. Bus Output patch information.
9. Post-fader Bus Output level (fader level).
Direct Input
1. The DIRECT INPUT MUTE can only be unmuted if the direct input is patched.
2. Direct Input patching information.
3. Direct input level (-inf to 10 dB).
4. Choose the Inject point. Either Post Input (pre-processing) or Post Processing.
5. Pressing Solo will send the direc t input signal to Monitor Bus A unless the Solo B button is active, then the signal is sent to Monitor Bus B for audition.
Options
1. Processing order can be changed by long pressing and dragging the icons in an order you like. It is possible to drag the Fader before the Insert for a post fader
insert point (Fader can only follow Insert).
2. Below are the channel automation safes. The options are All, Comp, Equaliser, Cong, Mute or Main Bus. See chapter 19 on Safes for more information.
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Oscillator (Output Widget)
1. Oscillator Level control.
2. Frequency control (50 Hz to 5 kHz).
3. 1 kHz xed tone.
4. Pink Noise on/o.
5. Internal send on/o.
6. Oscillator to Talk Internal on/o
7. Talk on/o.
Setting the HPF and LPF
The high and low pass lters can be switched on/o independently of each other. Each lter has two slope settings. The lters are replicated on the GUI, which also
shows the value of the frequency and lter slope cuto.
First select the channel you wish to adjust by either pressing the appropriate SEL button on the surface or via the GUI.
1. In the Equaliser section the High Pass Filter (HPF) and Low Pass Filter (LPF) can be toggled on and o with the ON button depending on selection.
2. Frequencies are dened with the corresponding HPF/LPF Freq controls. The ranges are 10Hz to 10 kHz for the high pass lter and 40Hz to 20kHz for the low pass
lter. When either lter is switched on it is highlighted purple in the widget.
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3. There are two lter slopes to choose from for each lter: 12dB/Oct or 24dB/Oct for the HPF and 6dB/Oct or 12dB/Oct for the LPF.
4. In the Equaliser display widget, the HPF and LPF settings will be displayed on screen. They are displayed in purple when active and atten when turned o.
The lters can be altered by touching the corresponding purple dot to change the frequency of the lter.
Note: The frequency for both lters can also be set by using the pop-up rotary by touching the FREQ control display in the Equaliser widget (in between the Filter on
and Filter slope). It can also be locked to the screen. Please refer to the Navigation section on how the pop-up rotaries function.
Input equalisation
To equalise the input signal, use the 4-band parametric EQ, which is situated in the Equaliser section of the channel overview or Equaliser widget. Band 1 and 4
each have a parametric lter option and three specic shelving modes. Visual feedback for EQ is either via Equaliser widget, and channel detail area. In addition, it is
possible to hear changes to EQ in the solo bus before the change is committed to the input or output with the innovative EQ audition mode.
To EQ the input signal:
1. Select the bank you wish to pick a channel to EQ.
2. Select the channel you wish to adjust via the GUI or by pressing the surface SEL button.
3. Navigate to the Equaliser widget either by touching any control in the Equaliser section on the surface or touching Equaliser in the input widget screen. There are 3
buttons to either: Turn the HPF, LPF or EQ on.
4. In the Equaliser section, press the green EQ button to activate the EQ (either on the sur face or on screen). The EQ button’s LED will illuminate green when on and
show a green outline when o.
5. In the Equaliser section, adjust the Frequency, Width and Gain control knobs to change EQ parameters as required or, in the Equaliser widget, touch the EQ band
you wish to adjust. To adjust the width of the selected EQ band, use the pinch gesture to increase or decrease the width of the EQ band. A pinch gesture is a
continuous gesture that tracks the distance between the rst two ngers that touch the screen when moving lef t and right.
6. To Flatten the EQ curve press and hold the red Flatten button in the GUI until the line traces around the outside of the button. Once this two second press has
elapsed the EQ will be reset. All the EQ bands frequency and widths will remain in the same positions, but the gain will be reset to 0db for each band. This atten
function does not aect the HPF and LPF settings.
7. Engage True Audition mode.
Note: EQ Gain, Freq or Width in the Equaliser widget can be set by using the pop-up rotary by touching the corresponding Gain, Freq or Width display in the Equaliser
widget. They can also be locked to the screen if required. Please refer to the Navigation section on how the pop-up rotaries function.
Audition the dierent lters, including the ‘minimum harmonic disruption’ types, by scrolling through them using the Shape button in the Equaliser section or in the
Equaliser widget.
Band 1 HP 6dB, HP12dB, Bell or Shelf lters (Deep, Classic and Warm).
Band 2 Bell with Gain, Frequency and Width controls.
Band 3 Bell with Gain, Frequency and Width controls.
Band 4 LP 6dB, LP12dB, Bell or Shelf lters (Bright, Classic and Soft).
Note: The minimum harmonic disruption lters are bright and deep, which are available for treble and bass, respectively. These lters use psychoacoustic phenomena
to generate steep slopes that sound natural.
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True Audition
In the top right of the EQ widget is the innovative EQ Audition button. In this mode the EQ display turns yellow and any changes to EQ will only be heard in the solo bus.
For example, this allows you to ne-tune the EQ without aecting the sound in an artist’s in-ear mix. Once you have made your changes either press the green APPLY
button to commit instantly or press the red x to cancel the audition EQ and return you to your live mix.
Warning: If you press the green commit button any changes will happen immediately and can aect everyone listening to that channel. Big EQ changes will be very
noticeable.
The FLATTEN EQ and EQ ON/OFF buttons can also be heard just in the solo bus when in preview mode. This allows you to hear the dierence the whole EQ is making on
a signal before committing to it.
Output processing
The outputs have a four-band parametric equaliser with shelving modes on bands 1, 2 and 4 and operate in a similar way to the input EQ. The options are:
Band 1 HP 6dB, HP12dB, Bell or Shelf lters.
Band 2 Bell or HP24dB (When HP24dB is in use Band 1 is disabled)
Band 3 Bell with Gain, Frequency and Width controls.
Band 4 LP 6dB, LP12dB, Bell or Shelf lters.
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Input Dynamics Processing (Dynamics Section)
This section shows you how to use the compressor and gate dynamics processors via the surface Dynamics section and various GUI screens. The rotary pop-up
functions can also be used to adjust certain settings of the gate and compressor which can also be locked to the screen if desired.
Surface Controls
FOH Workow View
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Channel View
To set up a compressor/limiter:
1. Select the channel you wish to adjust. Then navigate to the Compressor widget either by touching any control in the Dynamics section on the surface or touching
Compressor in the input widget screen. Alternatively, in the Channel View workow touch the small compressor section to the left to see the Compressor and
sidechain section enlarged to the right.
2. On the surface Dynamics section press the SEL button associated with the compressor, this assigns the compressor functions to the physical controls, then press
the ON button. The Button will illuminate green when the compressor is on. Alternatively, in the Compressor widget touch the Compressor on/o button in the
right-hand bottom corner. This will illuminate green when on and only show a green outline when o. You will also see the compressor curve turn green when
the compressor is active. Sidechain lter on/o and Filter Edit buttons are located in the bottom left of the Compressor widget or to the side if in Channel View
workow. The sidechain curve will turn purple when turned on and active.
3. In the Dynamics section, adjust the Attack, Ratio, Release, Threshold and Make Up controls to apply processing. You can also set up a limiter by using a high
threshold and a steep ratio (greater than 10:1). The Hold control has no function when using the compressor and is only used with the gate. Threshold can be
adjusted in the GUI by swiping up and down in the GUI display.
4. Press KNEE in either the Dynamics section or in the Compressor widget to audition the dierent slope algorithms (hard knee, medium knee and soft knee).
5. Press MODE in either the Dynamics section or in the Compressor widget to audition the dierent compressor types (Corrective, Adaptive, Creative and Vintage).
More information on the dierent compression modes can be found in chapter 29.
6. Press Sidechain Filter in the Compressor widget to access the sidechain function. From this page you can set the sidechain, listen to the source, toggle the
sidechain on or o, set the frequency and Width. Press the blue down arrow Comp button to return to the main compressor settings.
Note: The outputs have the same four compressor modes as the input channels. Gates are not available on outputs. If you do need a gate on an output, use the SQ1 in
gate mode.
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Setting Up A Gate
Channel View
FOH Workow
1. Select the channel you wish to adjust. Navigate to the Gate widget (Channel View or FOH Workow) either by touching any control in the Dynamics section or
touching Gate in the input widget screen.
2. In the Dynamics section press the SEL button associated with the Gate, this assigns the gate functions to the physical controls. Press the ON button and it will
illuminate green. Alternatively, in the Gate widget touch the gate on/o button in the right-hand bottom corner which will illuminate in green when on and
show a green outline when o. You will also see the Gate curve turn purple when the gate is active. Sidechain lter on/o and Filter Edit buttons are located in the
bottom left of the Gate widget.
3. In the Dynamics section, adjust the Attack, Hold, Release, Range and Threshold controls to apply processing. The Make-Up control has no function when using the
Gate as it is only used with the compressor. You can adjust the threshold of the gate in the GUI by swiping left or right in the gate graphical display. You can also
adjust the Range in a similar way by swiping up and down in the same GUI window.
4. In the Channel View workow sidechain functions are presented to the right side of the GUI. In the FOH workow press the Sidechain Filter arrow to access the
sidechain functions of the gate. In both areas you can set the side chain, listen to the source, toggle the sidechain on or o, and set the frequency and width of the
sidechain. Press the purple down arrow button to return to the main Gate settings.
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Gate Surface Controls
The familiar surface controls mirror the GUI and give a more traditional approach to working with the HD96-24 system. Press Sel to activate the gate controls on the
surface for the selected channel. The controls function in the same way as the GUI.
Using VCA & POP groups
The HD96-24 has 24 POP groups and 24 VCAs. VCA/POP groups allow simultaneous control over a large number of channels. This provides a quick method of bringing
particular channels to the control surface and saves you having to remember their name/number. You can choose channel group associations and also congure the
colour, name and image of each group’s LCD select button to make them instantly recognisable.
In the Global Assignable Shortcuts area, the associated POP or VCA group (when setup) is selected by the SEL button under the LCD screen. Global Assignable Shor tcuts
are setup in the Navigation page (see Chapter 6 Navigation or Chapter 18 for Global Assignable Shortcuts set up details).
Holding the SEL button takes you to the Groups page to freely assign channels. Any group can have any channels (input/output) assigned to them, although in normal
practice is more likely that they will only have one or the other.
The dierence between VCA groups and POP groups are that VCA groups include fader, solo and mute control. POP groups are limited to bringing channels to the
control surface and have no other function. POP groups let you create a group of related instruments that you require on the control surface for quick access. For
example, all channels associated with a person’s monitor mix can be assigned to a POP group and brought to the surface with one button press or all the drum
microphones can be grouped together.
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How to congure a VCA/POP group:
Select Groups in the main GUI top bar menu. This will display the groups information and setup page as shown below. When no group is selected, handy instructions
are visible for your reference.
1. Select POPs from the list on the left-hand side.
2. Select the rst POP Group you would like to assign inputs, outputs or VCAs to.
3. On the right-hand side you can touch the large POP image or name to access the naming, tagging and Image page. Naming, tagging and Image has been
explained in an earlier section. The name can also be edited by pressing the name next to the Add Channels to Group area.
4. Transfer Colour. At this point you have the option to transfer the colour to channels which will be added to the POP Group. This can be done at any point by long
pressing the button.
5. With the POP group highlighted tap the inputs, outputs or VCAs you wish to be assigned to that POP Group. Note the order in which you tap the inputs, outputs or
VCAs is the order they will appear on the surface. To change this order press and hold on the desired input, output or VCA until the icon wiggle animation starts.
It now can be freely moved to which ever position you like or removed by dragging it out of the drop zone. Each POP group can contain all dierent types of
inputs, outputs or VCAs. If more than 16 paths are added to a POP group, each press of the POP group button will toggle through the dierent banks of channels
associated within that POP group (once assigned to the global shortcuts area). There is no limit on how many channels can be added to a Pop or VCA.
6. Remove Gaps. If there are blank channels in the selected POP group, they will be removed with subsequent channels moved down to ll the gaps.
7. Order Ascending. This func tion re-orders the POP group or VCA to be in numerical order (lowest channel rst).
8. Order Descending. This function re-orders the POP group in reverse numerical order (highest channel rst)
9. The Empty Group button allows any POP or VCA groups to be cleared quickly and operates when holding the button for a short period.
10. Decide where the POP group unfolds. Choose either Area A or Area B.
There is also an option to add group tags. This means for example if you create a POP group for the drums you can then add a “drums” tag to all the drum kit. This is a
great way to organise large shows to simplif y operation.
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If you wish to move or reorder the channels simply hold on to the channel icon you wish to move until it wiggles, then drag it to the new position. Channels will
automatically move up and down to allow the selected channel to be dropped in its new position.
The same principles apply to the VCAs. The only dierence being only Inputs and Outputs can be assigned to VCAs.
Alternative way to assign VCA/POP groups
Pressing and holding down the SEL button of the desired group (VCA or POP) in the global assignable shortcuts area will take you to the Groups page and automatically
select that group to edit.
Note: If more than 16 channels are assigned to a POP or VCA group pressing the groups SEL button will page through all assigned channels on the surface. Again, these
can be fully reordered as desired.
Pressing the VCA SEL button will also show channels assigned to it and will page through the channels if more than 16 channels are assigned.
Setting up an Aux/Group mix
Setting up a mix
The control surface has 96 congurable aux busses each of which can be used as a Subgroup or as a Flexi-Aux to send to other auxes. All of these busses can also be set
up as mono, stereo or paired/linked together. 24 matrix outputs can also be accessed directly from input channels via level controls. Similarly, to the inputs and groups,
identication of mixes is by colour coding.
In the input channel there is a Sends page which allows the selected channel to be turned On, set to Pre-Fader, sent to any Aux or Matrix using the Absolute, Relative or
Pass-thru method. It can also be used to adjust the pan in stereo Aux or Matrices.
The overview displays in the GUI channel strip show the status of these busses, which are colour coordinated to match those in the sends section of the control surface.
Routing to master stereo outputs
The following shows you how to route audio. Before proceeding with this operation, make sure nothing is muted and master faders are up.
To send audio to the L/R Master Output do one of the following:
Select the channel and press the ST (stereo) button in the Main Bus section on the surface.
In the GUI select the channel you wish to adjust and navigate to the Cong page in the widget. Press the Stereo BUS button.
Manchino Multi Edit Page (Basic introduction)
The Manchino page allows you to select and edit any number of inputs or outputs at once in one very easy place. For example, all channels can easily be selected and
sent to the stereo bus. A selection of channels could be made Pre-Fader all at once in many aux sends with a few touches of the screen.
On the left side of the GUI there are two tabs which are for either inputs or outputs. Functions for inputs and outputs vary depending on the parameters associated
with them. For example, 48v can’t be added to an AUX master.
To select the inputs or outputs you wish to edit simple touch their associated button on screen, by pressing and holding on a channel or bus button all channels or
busses can be selected at once. Individual channels can be removed by tapping on them.
If you select a few dierent channels and wish to clear your selection, press and hold on one of the selected channels to clear all. If you select a couple of channels or
busses then wish to add all the rest of the channels or busses, press and hold on a new unselected channel or bus. This will then select all other items in that page.
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