Solid State Logic AWS 900+ SE Owner's Manual

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Owner’s Manual

82S6AWS030B

Begbroke, Oxford, England OX5 1RU • +44 (0)1865 842300

320 West 46th Street, 2nd Floor, New York, NY 10036, USA • +1 (1) 212 315 1111

Suite 401, 5757 Wilshire Blvd, Los Angeles, CA 90036, USA • +1 (1) 323 549 9090

3-55-14 Sendagaya, Shibuya-Ku, Tokyo 151-0051, Japan • +81 (0)3 5474 1144

7 bis, rue de la Victoire, le Blanc Mesnil, Paris 93150, France • +33 (0)1 48 67 84 85

Via Timavo 34, 20124 Milano, Italy • +39 (0)39 2328 094

Visit SSL at http://www.solidstatelogic.com

Solid State Logic, SSL, AWS 900, AWS900+, AWS900+ SE,

AWSomation and Total Recall are trademarks of Solid State Logic

All other trademarks are the property of their respective owners

No part of this publication may be reproduced in any form or by any means, whether mechanical or electronic, without the

written permission of Solid State Logic, Oxford, England

Initial release (0A) March 2006

Section 5A added June 2006

Updated to AWS900+ SE January 2009

As research and development is a continual process, Solid State Logic reserves the right

to change the features and specifications described herein without notice or obligation.

E&OE

Safety and Installation Considerations

raphical Symbols 1-1

General Safety 1-1

Caution 1-1

Power Safety 1-2

Caution 1-3 FFC Notice 1-3 WEEE Directive Information 1-3 Standards Conformance 1-3 About This Manual 1-4

Conventions Used 1-4 Contacting Solid State Logic 1-4

2 Introduction to the AWS 900+ S E

Analogue Workstation System 2-1 Design Concepts 2-1 Key Features Summary 2-1 SuperAnalogueTMAudio Quality 2-1 Console Feature Summary 2-1 Exceptional Signal Processing 2-2 Creative Versatility 2-2 DAW Controller 2-2 Controller Features Summary 2-2

3 Installation and Setup

Pre-Installation Requirements 3-1

Console Control Surface 3-1

Air Conditioning Requirements 3-1

Cable Ducting 3-1

Service Access 3-1

Power Connections 3-1

Grounding 3-1

Thermal Considerations 3-1 Console Drawing 3-2 Unpacking The Console 3-3 Attaching the legs 3-3 Removing the trim 3-5 Studio Integration 3-7

Audio Connections 3-7

Line Level Input/Outputs 3-7

Connecting a Patchbay 3-8

Mic Inputs 3-8 Instrument Inputs 3-8

DAW Connection 3-9

Overview 3-9

Installing the ipMIDI Driver and Logictivity Browser 3-9

Software Installation (Macintosh) 3-9

AWS 900+ SE Owner’s Manual

TOC-1

Table of Contents

Table Of Contents

Software Installation (PC) 3-10

Make and Configure the Network Connection 3-10

Direct Network Connection (Macintosh) 3-10 D

irect Network Connection (PC) 3-13

Enabling ipMIDI on your AWS 3-14

Setting your workstation(s) to Communicate via ipMIDI 3-15 Pro Tools 7 3-16 Logic Pro 8 3-17 P

references/Control Surfaces Setup Menu 3-18

Network Trouble Shooting 3-19

Larger Networks 3-20

Assigning the AWS900+ SE IP Address 3-21 Enabling the AWS Logictivity Features on your Console 3-22 Using Physical MIDI Ports to connect your DAW 3-22

4 Console Operator’s Guide

Overview 4-1 About this Section 4-1 Routing and Signal Flow 4-3

DAW System Configurations 4-3

DAW I/O Labelling 4-4 Example Methods of Operation 4-5

Recording 4-5

Mixing 4-7 Channel Strip 4-8

Introduction 4-8

Channel Input Section 4-9

Filter 4-9

Equaliser 4-9

Insert Point 4-9

Direct Output 4-9

Cue Stereo Send 4-9

FX Sends 4-9

Channel Output 4-10

Upper Scribble Strip 4-10

D-Pot Rotary Encoder 4-10

D-Pot Cut and Solo 4-10

Select Button 4-10

Lower Scribble Strip 4-10

Channel Cut and Solo 4-10

Automation control 4-10

Moving Fader 4-10

DAW Status Indicators 4-11

Channel Meters 4-11

Overload Indicators 4-11

Track Bus Routing 4-11

Dynamics Assignment 4-11 Signal Processor Routing 4-12 Centre Section 4-15

Introduction 4-15

Power Supply Indicators 4-15

Main Output Functions 4-15

Console Operator’s Guide

TOC-2

AWS 900+ SE Owner’s Manual

4 Console Operator’s Guide (continued)

Dynamics 4-16 S

tereo Compressor 4-16

Master Fader 4-16

Centre Section Dynamics 4-17

Compressor Limiter 4-17 Gate/Expander 4-17 M

etering 4-18

Track Bus Master Controls 4-18

Monitoring 4-19

External Source Selectors 4-20 Monitor Insert 4-21 Monitor Options 4-21 Bass Management 4-22 Monitor Level Calibration 4-23 Monitor Level Display and Calibrated Listening Level 4.24

Solo/AFL/PFL 4-25 Cue/FX Send Master Controls 4-25 Foldback and Headphone Outputs 4-26 Stereo FX Returns 4-27 Misc Options 4-27 Communications 4-28 Oscillator 4-29 Centre Section Metering 4-30 Daw Control 4-31 The AWS Console Setup Menu 4-31

5 DAW Control Guide

Introduction 5-1

DAW Controller Features Summary 5-1 Communication with your DAW 5-1 Overview 5-2 Console Focus Button 5-2

D-Pots 5-2 Console Focus 5-2

Analogue Focus Mode 5-2

DAW Focus Mode 5-2

Digital In-Line Mode 5-2 The Master Control Panel 5-3

Channel Banking Controls 5-3

DAW Window Buttons 5-3

DAW Utility Buttons 5-4

The Default Button 5-5 Channel Functions 5-6

DAW Meters 5-6

Status Indicator 5-6

Channel Fader 5-6 Channel Solo and Cut Tile 5-7

Channel D-Pot 5-7

Solo and Cut Buttons 5-7

Channel Select Button 5-7

AWS 900+ SE Owner’s Manual

TOC-3

Table of Contents

5 DAW Control Guide (continued)

Scribble Strip Displays 5-7 C

hannel SEL Button –Track Arming/Edit/Select 5-8

Record Ready Mode 5-8 Edit Mode 5-8 Select Mode 5-8

Working With Channel D-Pots 5.9

an Mode 5-9 Channel Mode 5-9 Send Mode 5-9

Setting Sends Pre/Post Fader 5-10 Muting Sends 5-10 Flipping Send Levels to the Faders 5-10

Input Output and Send Routing 5-11

Viewing Input, Output and Send Routing 5-11 Setting Input, Output and Send Routing 5-11

Assigning Signals To Multiple Channels 5-11 Assigning a Channel to Multiple Outputs 5-11

Motion Control Panel 5-10

Transport Controls 5-10 Other Useful Transport Modes 5-12 IN/OUT and PRE/POST 5-11

Setting Pre and Post Roll 5-13 Setting Start and End Times 5-13

Audition 5-13

Footswitch Control 5-13

ZOOM, Navigation and Selection Modes 5-14

Navigation Edit Mode 5-14 Zoom Mode 5-14 Selection Mode 5-14 Scrolling Within a Window 5-14

Shuttle/Scrub Whe el 5-15

Using the Shuttle Wheel 5-15 Using Scrub Mode 5-15 Using the Numeric Keypad to Shuttle 5-15 Exit from Scrub/Shuttle Mode 5-15 Notes on Scrub/Shuttle Mode 5-15

Numeric Keypad 5-15

Working with Markers/Memory Locations 5-15

Plug-In Editor 5-16

Plug-In Editor Display 5-16 Plug-In Editor Controls 5-16 Paging Buttons 5-16 Selecting a DAW Channel for Plug-in Control 5-16 Timecode/Bars & Beats/Samples Display 5-17 DAW Status Display 5-17 Plug-in Display Modes 5-17

Viewing Current Inserts (Insert Mode) 5-17 Assigning a Plug-in or I/O Insert (Assign Mode) 5-17

Assigning the Same Plug-in to all Channels 5-17 Assigning the Same Plug-in to Selected Channels 5-17

Console Operator’s Guide

TOC-4

AWS 900+ SE Owner’s Manual

5 DAW Control Guide (continued)

Editing Plug-in Parameters (Parameter Mode) 5-18

electing a Plug-In to Edit 5-18 Changing Plug-in Parameters 5-18 Hi-Resolution Parameter Display Mode 5-18 Comparing Your Changes 5-18 Bypassing Plug-ins 5-18 D

-Pot Sensitivity 5-18

Soft Key Display 5-19

Automation Enables Menu 5-19 Automation Modes Menu 5-19 Edit Tools Menu 5-20 Edit Modes Menu 5-20 Status/Group Menu 5-20 Function Keys Menu 5-21 Edit Menu 5-21

SSL Menu 5-21 Working with Auto m ati on 5-22 Automation Enables 5-22 Automation Modes 5-22

Trim Mode 5-22 Automation Status 5- 22 Automation Override Mode 5-23 Suspending Automation 5-23 Writing Automation to Start, End etc. 5-23 Automating Switches 5-23 Automating Pans and Sends 5-23 Automating Plug-Ins 5-23

Automation Indicators for Plug-in Parameters 5-23

HUI with Non Pro Tools DAW’s 5-24 Working with two DAW’s 5-24 MCU Emulation Advantages 5-25

Implementation 5-25

DAW Control Function Key Overview 5-27 The Logic Template 5-28

Logic Control Key Layout 5-28 Transport Function Key Layout 5-29 AWS Logic Control Screen 5-29

The Nuendo/Cubase Template 5-31

Nuendo Control Key Layout 5-32 AWS Nuendo Control Screen 5-33 Mackie Control Surface Steinberg Overlay 5-34 The Sonar Template 5-35 Sonar Control Key Layout 5-36 AWS Sonar Control Screen 5-37 Mackie Cont rol Surface Steinberg Overlay 5-38

The Digital Performer Template 5-39

Digital Performer Control Key Layout 5-39 AWS Digital Performer Control Screen 5-41 Mackie Cont rol Surface Digital Performer Overlay 5-42

AWS 900+ SE Owner’s Manual

TOC-5

Table of Contents

6 Total Recall

Overview 6-1 I

nstallation 6-1

Operation 6-1

Accessing Total Recall 6-1 The SEL Menu 6-2

Storing Setups 6-2 C

hanging the Selected Setup 6-2

Deleting Setups 6-2

Total Recall via Logictivity 6-3

Saving Legacy MIDI Setups to a Mac or PC 6-4 Restoring Legacy MIDI Setups to a Mac or PC 6-4

Total Recall Display Pages 6-5

The Channel Display 6-5 The Section Displays 6-6

Installation of Total Recall Option 6-7

7 AWSomation

Overview 7-1

Key Features 7-1 Quick Guide 7-1 Operation 7-2

Accessing AWSomation 7-2

List Mix Menu 7-2

Changing the Selected Mix Passes 7-2 AWSomation Data Management via Logictivity 7-3

Creating a Mix Pass 7-4

New Mix Setup 7-4 Mix Running 7-5 Join and Revise 7-6

Discard 7-6 Updating A Mix Pass 7-7 Selecting Protection 7-7

Automation Options 7-7

Trim 7-7 TLock 7-8 Motors Off 7-8 Snap Mode 7-9 AutoTakeover 7-9

Cut Automation 7-9 Copy and Swap 7-10 Automation Setup Options 7-11 Fader Links 7-12 Pro Tools Setup Notes 7-13 Saving Mix Passes to a Mac or PC via Legacy MIDI SysEx 7-16 Installation 7-17

Console Operator’s Guide

TOC-6

AWS 900+ SE Owner’s Manual

8 Logictivity and Projects

Key Features 8-1

he AWS 900 Remote 8-2

Projects Tab 8-3 Mixes Tab 8-5 Total Recall Tab 8-6 Channels Tab 8-7 E

xternals Tab 8-8

About Tab 8-9

Appendices

Console Specification A-1

Service & Warranty Information A-2

Audio Connectors and Pinouts A-3

MIDI Implementation Chart A-6

Troubleshooting A-8

Introduction A-8 Locating Problems A-8 Control Faults A-9 Replacing Modules A-11

The Channel Strip A-12 The Channel Fader A-13 The Channel Meter Panel A-14 Centre Section Cards A-14 Trouble Shooting Chart - Channel Bay A-16

Trouble Shooting Chart - Centre Section A-17 Glossary Of Terms A-18 Link Options A-19 Environmental Specification A-20 Block Diagrams A-21

AWS 900+ SE Owner’s Manual

TOC-7

Table of Contents

Console Operator’s Guide

TOC-8

AWS 900+ SE Owner’s Manual

This section contains definitions, warnings, and practical information necessary to ensure a safe working environment.

Please take time to read this section before installing or using your AWS 900+ SE. Please do not dispose of these instructions.

Graphic Symbols

The following symbols may be used in this section and elsewhere in this manual:

General Hazard

(refer to User or Service Instructions for details)

Electrical Hazard

General Safety

• Read these instructions.

• Keep these instructions.

• Heed all warnings.

• Follow all instructions.

• Do not use this apparatus near water.

• Do not expose this apparatus to rain or moisture.

• Clean only with dry cloth.

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

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

• Ensure that this apparatus is positioned on a secure level surface.

• Ensure that no strain is placed on the cables connecting to this apparatus. Ensure also that such cables are not placed where they can be stepped on, pinched, pulled or tripped over in any way.

• Refer all servicing to qualified 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 been dropped.

• Adjustments or alterations to this apparatus may affect the performance such that safety and/or international compliance standards may no longer be met.

• This apparatus is designed for use solely by engineers and competent operators skilled in the use of professional audio equipment.

Caution

The AWS 900+ SE console is too heavy for one person to lift. If covers or panels are removed for any

reason, sharp edges may be present on exposed metalwork.

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

To reduce the risk of electric shock, do not perform any servicing unless you are qualified to do so.

AWS 900+ SE Owner’s Manual

1-1

Important Information

Section 1 – Safety and Installation Considerations

Power Safety

• This apparatus includes a universal power supply, approved and certified for operation in this apparatus.

• This apparatus is supplied with a 3-core power cord and must be connected to a 3-pin grounded ac. power supply.

• To ensure safe operation of this apparatus, connect only to an ac. power source that contains a protective earthing (PE) conductor. This apparatus is designed for connection to single phase supplies with the neutral conductor at earth potential – category TN or TT – and is fitted with a protective fuse in the live conductor only. This apparatus is not designed for use with live and neutral connections reversed or where the neutral conductor is not at earth potential (IT s

upplies). This apparatus should not be connected to a power system that switches open the return (neutral) lead

when the return lead also functions as the protective earth (PE).

•

Use only the Solid State Logic provided power cord. Use of any other power cord is not covered by your warrant y and may cause fire or explosion.

•

The supplied power cord will be coded with either of the following colour schemes:

1 or 2

LIVE: Brown Black

NEUTRAL: Blue White

EARTH: Yellow/Green Green

• Do not defeat the safety purpose of the polarised or grounding-type plugs fitted to the power cord. A polarised 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. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

• An external disconnect device is required for this apparatus; a detachable power cord – as fitted to this apparatus – is a suitable disconnect device.

• An external over-current protection device is required to protect the wiring to this apparatus which must be installed according to current wiring regulations: 5A for 230V supplies; 10A for 100 – 110V supplies. In certain countries this function is supplied by use of a fused plug. In other cases a fused spur or circuit breaker should be used according to local practice.

• If an extension power cable or adaptor is used, ensure that the total power rating of the power cable and/or adaptor is not exceeded.

• The power socket used for this apparatus should be located nearby and be easily accessible.

• Unplug this apparatus during an electrical storm or when unused for long periods of time.

• Do not operate this apparatus whilst it is covered or boxed in any way.

• To reduce the risk of electric shock, do not perform any servicing unless you are qualified to do so.

• Disconnect the power cord before removing any panels. The power switch alone does not provide adequate isolation for service access.

• Do not permit anyone to remove panels or covers from this apparatus, other than qualified service personnel.

• Do not permit anyone other than qualified service personnel to operate this apparatus unless all panels and covers are in place.

Important Information

1-2

AWS 900+ SE Owner’s Manual

Caution

When installing or servicing any item of SSL equipment with power applied, when cover panels are r

emoved:

AZARDOUS CONDITIONS CAN EXIST!

These hazards include: • High energy stored in capacitors

• High currents available from DC power busses

• Hot component surfaces

• High voltages

To reduce the risk of fire, replace internal fuses only with identical type and rating.

AWS 900+ SE may contain a lithium battery (CPU assembly 629645). There is a danger of explosion

if the battery is incorrectly fitted. Replace only with the same or equivalent type.

FCC Notice

This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is used in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense.

Instructions for Disposal of WEEE by Users in the European Union

The symbol shown here is on the product or on its packaging, which indicates that this product must not be disposed of with other waste. Instead, it is the user’s responsibility to dispose of their waste equipment by handing it over to a designated collection point for recycling of waste electrical and electronic equipment. The separate collection and recycling of your waste equipment at the time of disposal will help to conserve natural resources and ensure that it is recycled in a manner that protects

human health and the environment. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, your household waste disposal service or where you purchased the product.

Standards Conformance

This apparatus fully conforms with the current protection requirements of the European community council directives on EMC and LVD.

AWS 900+ SE Owner’s Manual

1-3

Important Information

About this manual

his manual is divided into eight main sections, and is designed to provide a comprehensive source of information for both installers and users of the AWS 900+ SE console. The table of contents will help you to familiarise yourself with the basic content of each section. If you are reading this from an electronic version of the manual, use the ‘bookmark’ feature to locate to any topic almost immediat ely.

lease read the opening pages of Section 3 before attempting to install the console, particularly the warnings about lifting and positioning the console.

If you have not previously used an SSL console, you are advised to read an introduction to the AWS 900+ SE in Section 2. Those of you who have experience of SSL’s legendary range of analogue consoles will have little difficulty getting to grips with the operation of this console. Features that are specific to the AWS 900+ SE are fully described in Section 4.

To set-up and configure the software interface between the AWS 900+ SE and your chosen DAW, please study Section 5. This section also covers those DAW functions that you can now usefully control from the AWS 900+ SE centre section.

Finally, the last section in this manual holds a number of useful appendices that you may need to refer to from time to time.

Conventions Used

Some typographical conventions have been used in this manual to help distinguish explanatory text from the text referring to items on the console. They are as follows:

• Switch cap engravings on the console are usually in UPPERCASE (eg. SOLO).

• Silk screened text on the console’s control surface can be either UPPERCASE (eg. DYNAMICS), or

lowercase bold (eg. auto), or Titlecase (eg. Talkback Mix).

• Any text on the console’s TFT screen is referred to in a Bold typeface.

• Items of note or cautions are shown in a red typeface.

• Whenever this manual mentions the selection or pressing of a button, it is assumed that the button was not

active (ie. not lit), and that this action has made it active (ie. it has become lit).

• Similarly, whenever the manual mentions the deselection of a button (or pressing it again), it is assumed that

it was active before the action, and has become inactive due to this action.

Contacting Solid State Logic

If you cannot find the information you need on the pages of this manual, please see the AWS 900+ SE support pages at http://www.solidstatelogic.com

Important Information

1-4

AWS 900+ SE Owner’s Manual

The AWS 900+ SE – Analogue Workstation System

The AWS 900+ SE is a revolutionary combination of a compact world-class analogue mixing console and a comprehensive DAW controller. Based on the DNA of SSL’s flagship XL 9000 K Series console, the AWS900+ SE provides everything you need to record, edit and mix professional projects – just add the workstation of your choice.

Solid State Logic mixing systems are the de facto standard in audio production, valued for their unrivalled audio quality and control ergonomics. SSL was the first company to int egrat e automation and machine control into the mixing console, and it pioneered surround mixing. The AWS 900+ SE delivers the same powerful integration benefits to DAW users, who face similar challenges with an array of equipment (Mic Amps, Effects, Controllers etc.) to produce professional results from a modern DAW.

Design Concepts

The AWS 900+ SE is the only console that provides the dual benefits of a fully featured SuperAnalogue signal path, coupled with a comprehensive DAW controller. The product is a result of extensive customer and market feedback.

Key Features Summary

• Combined SSL console and DAW controller

• Legendary SSL SuperAnalogue™ mic preamps and signal processing

• Comprehensive monitoring system up to 5.1 surround

• Direct control of DAW recording, editing and mixing functions

• Flexible signal routing

• Logictivity Browser

• MIDI over Ethernet

SuperAnalogue™ Audio Quality

The AWS 900+ SE is a complete, compact SSL console, with all of the audio quality, robustness and advanced ergonomics that this implies. AWS 900+ SE offers no-compromise audio performance, equivalent to SSL’s celebrated XL 9000 K Series mixing console, which is a feature of major studios the world over.

Signal routing, inputs/outputs, monitoring and signal processing are all permanently available on the console. Quality motorized faders provide conventional audio level control as well as controlling the recording and replay levels in your DAW.

Console Feature Summary

• Integrated console, signal acquisition, signal processing, studio monitoring, Bass management and DAW control

• Advanced DAW control through a high resolution integrated TF T screen

• Small elegan t design with desk installation or freestanding options

• Innovative large fader dual-control of both DAW and console input path with follow fader metering

• Logictivity Browser for console session management

AWS 900+ SE Owner’s Manual

2-1

Introduction

Section 2 – Introduction

Exceptional Signal Processing

• Legendary SSL sound quality

• SuperAnalogue™ technology derived from SSL’s flagship XL 9000 K Series console

• DC Couple d for excellent low frequency response

•

Balanced signal paths throughout for optimal dynamic range

• Greater bandwidth than 192kHz recorders

• 24 Ult ra low-noise dual impedance mic amps

• 24 channels with twin-curve SSL E and G Series 4-band parametric equalization

• Assignable dynam ics sections with gate, expander and compressor/limiter

• G Serie s stereo mix buss compressor

• Flexible processing order

Creative Versatility

• Dual mix bus design for comprehensive control of Inputs and DAW mixing and monitoring

• 5.1, stereo or stereo down-mix monitor outputs

• 8 Track busses

• Two main busses – Record and Mix

• 8 aux busses plus EFX re-assign system on all 24 channel modules

• Wide range of solo modes including Solo-In-Front

• 4 stereo echo returns

• Unrivalled comprehensive studio monitoring section

• Hi-visibility channel meters, 4 main VU meters and complete bus metering in the centre section

DAW Controller

DAWs provide the power and convenience of recording and editing audio, but a keyboard and mouse is not the most intuitive way to access these controls. For most users, finding an integrated solution that answers all of their working needs is strongly desired. The AWS 900+ SE achieves this to an extent and quality that has previously been unavailable.

Controller Features Summary

• Direct access to all major DAW mixing, editing and automation parameters

• Direct control of plug-in settings

• Dedicated control processor to maximize console performance

• Integral colour TFT display with dedicated control keys

• User-definable controls on every channel

• High qual it y motorized faders to write/replay level moves in your DAW

• Simple swit chin g between console layer and DAW control layer

• Full remote control implementation

• Operation independent of platform – works with ProTools™, Nuendo™, Logic Audio™, and many more

• MIDI connection via Ethernet

Enjoy.......

Introduction

2-2

AWS 900+ SE Owner’s Manual

Pre-Installation Requirements

Console Control Surface

The AWS 900+ SE console is a self contained system; there are no remote power supplies or I/O racks. The frame is not fitted with cooling fans. See the following page for a drawing of the console footprint.

Air Conditioning Requirements

It is unlikely that additional air conditioning will be required after installing the AWS 900+ SE (with its typical 450W dissipation). It is possible however, that when all the studio equipment is taken into consideration, particularly if additional lighting is being installed, the combined heat output could be sufficient to cause the temperature to rise to uncomfortable levels. The appendix section contains environmental specifications for SSL equipment.

Cable Ducting

Cable ducting may be required between the console and any outboard racks and the recording areas. If a full remote patchbay is being provided then the ducting will need to be of sufficient size to allow at least twelve 24circuit multicore cables to be accommodated.

Service Access

Access to all electronic assemblies within the frame is from the front of the console. Note however, that each of the console’s modules is retained by a screw through its rear panel. Is necessary therefore, to have access to the rear of the console.

Power Connections

The console is fitted with auto-sensing power supplies which will function at any voltage from 90 to 250 volts without adjustment. It is supplied with two IEC mains power-leads. One will have a US-style 3-pin mains plug fitted, the other will be unterminated to allow the user to install a mains plug of their preferred type; the wires are colour-coded according to the EC standard.

Grounding

A standard system should not require any additional grounding over and above that provided by a correctly installed mains supply. The console’s chassis is permanently bonded to mains earth.

Safety Warning: The mains input ground wire MUST be connected to the supply earth.

Thermal Considerations

The maximum dissipation of an AWS 900+ SE is less than 600W (typically 450W). The console is cooled by convection from the front inlet (in the knee panels) to the exit at the top of the rear panels. It is very important that these ventilation grills are not obstructed in any way.

Particular care must be taken when considering the installation of studio furniture – such as shelving – across the rear of the console. Sufficient space must be left for the free flow of air from the rear grills, and also above the heatsink fins. Clearance behind the console must not be less than 50mm and clearance above the console not less than 200mm.

Note: The heatsink fins on the console rear panels can reach temperatures of approximately 30 degrees

Celsius above ambient room temperature.

AWS 900+ SE Owner’s Manual

3-1

Installation

Section 3 – Installation

Installation

3-2

AWS 900+ SE Owner’s Manual

863

260 115

102

1154

1458

1358

Unpacking The Console

The AWS 900+ SE is supplied in a wooden crate with the legs in a smaller separate crate.

Using a large screwdriver or pry-bar carefully open the crate containing the console. The crate is not designed to be reusable so does not have to be removed intact . With the crate sides removed there will be sufficient space for f

our people to lift the console clear from the base of the crate.

Note: The console is shipped with its trim fitted, avoid using the trim as a lifting point.

Do not lift the front of the console by using the buffer alone.

Attaching the legs

Again, it is recommended that four people are available to perform this operation

The bolts required to attach the legs are shipped in the same crate as the legs. A 6mm hex-key is provided as one of the tools included in the AWS 900+ SE console crate.

The console should first be rolled onto its back. Ensure that ample padding is provided – such as blankets or bubble-wrap – to support the rear panels (the PSU heatsink fins protrude from the rear of the console, and care must be taken not to damage them).

Position the legs on the console beam and attach the M10 bolts using the 6mm hex-key supplied. There are four bolts per leg.

Using four people, the console may now be tipped forward onto its feet. When the console is in position, the feet can be slightly adjusted to compensate for an uneven floor. Do not unscrew the feet by more than 15mm.

AWS 900+ SE Owner’s Manual

3-3

Installation

3-4

AWS 900+ SE Owner’s Manual

Removing the trim

If it is necessary t o remove the trim panels – to adjoin existing furniture – then please refer to the following information and the illustration shown on the facing page.

Note that it is not necessary to remove any of the audio modules to gain access to the trim fixing screws.

Front Buffer

he front buffer is secured by nine pan-head screws – five in the front beam and two in each end trim. These are

all visible from beneath the buffer.

End Trim

Each of the end trims is secured by four countersunk Posi-head screws through the profile (one is located in the kneepanel area, two more are found either side of the main beam and the fourth is located on the bottom corner of the outside profile), as well as two pan-head screws through the front buffer (visible from beneath the buffer).

Top Trim

The top trim is clipped over the front of the meter panels and secured onto the back panels by four M3 screws.

AWS 900+ SE Owner’s Manual

3-5

Installation

3-6

AWS 900+ SE Owner’s Manual

Solid State Logic

Drg. No:

22/03/06 AWS 900+ SD/GC Connector Panel

657X2 657X1 656X2 656X1 655X2 655X1 654 653 652 651

EXT A3 EXTA4

EXT A1 EXTA2

Send - Insert - Rtn

Meter Out Ext B 1-4

Mini

Listen Mic In

T/Back

Mic In

Listen

Mic Out

T/Back Mic Out

Desk Mic

Gain

Ext TB

Mic Gain

Osc Out

Mini

MON B MON A

Send

Left

Return

Left

Send Right

Return

Right

Left Out

Right

Out

Left Out

Right

Out

Send

Left

Return

Left

Send Right

Return

Right

MIX OUTPUTREC OUTPUT

Key

Echo

Rtn 1L

Echo

Rtn 1R

FX1

Out

FB AL

Out

FB AR

Out

Key

Echo

Rtn 2L

Echo

Rtn 2R

FX2 Out

FB BL

Out

FB BR

Out

Echo

Rtn 3L

Echo

Rtn 3R

FX3 Out

Echo

Rtn 4L

Echo

Rtn 4R

FX4 Out

8 Track

Bus Out

Cue/FX Bus Out

641

DIR

LINE

MIC

RTN

SEND

INST

1.4

TRS Jack. Instrument and Footswitch inputs Tip = Hot, Sleeve = screen All other jacks Tip = Hot, Ring = Cold, Sleeve = screen

XLR Male Pin 2 = Hot Pin 3 = Cold Pin 1 = Screen

XLR Female Pin 2 = Hot Pin 3 = Cold Pin 1 = Screen

Red Light/Talkback/GPI/O

Connector Type: 25-way D-type female

Pin Ribbon pin Description Notes

1 5 Red Light Relay contact A Normally open

14 6 Red Light Relay contact B Follows Red Light switch

2 7 0V

15 8 GP Input 1 (not used)

3 9 GP Input 2 (not used)

16 10 Monitor Cut Forces Cut when active

4 11 Monitor Dim Forces Dim when active

17 12 Slate switch

5 13 Listen switch

18 14 Red Light switch

6 15 TB All switch

19 16 FB A switch

7 17 FB B switch

20 18 Ext TB switch

8 19 +4V Max current 200mA(fused)

21 20 Slate Tally

9 21 Listen Tally

22 22 Red Light Tally

10 23 TB All Tally

23 24 FB A Tally

11 25 FB B Tally

24 26 Ext TB Tally

12 27 n/c

25 28 n/c

13 29 n/c

All inputs are active low (ie connect to 0V to activate). Inputs are pulled up to +4V via 3K9 resistor Inputs are diode clamped to 0V and +4V to protect the console circuitry All tallies are open collector with 47R series resistor.

AWS Connector Panel Layout

RED LIGHT/TALKBACK/GPIO

1 - FOOTSWITCH - 2

AWS Audio 25wD pinouts

cct Hot Cold Screen EXT A Inputs 1-4 Meter Out Ext B Inputs Mon Insert Send Mon Insert Return Mon A MonB 8 Track Out Cue/FX Out

1 24 12 25 Left Left 1 Left Left Left Main Left Alt Left Bus 1 Cue AL 2 10 23 11 Right Right 1 Right Right Right Main Right Alt Right Bus 2 Cue AR 3 21 9 22 Centre Centre 2 Left Centre Centre Main Centre Alt Centre Bus 3 Cue BL 4 7 20 8 LFE LFE 2 Right LFE LFE Main LFE Alt LFE Bus 4 Cue BR 5 18 6 19 Left Surround Left Surround 3 Left Left Surround Left Surround Main Left Surround Alt Left Surround Bus 5 FX1 6 4 17 5 Right Surround Right Surround 3 Right Right Surround Right Surround Main Right Surround Alt Right Surround Bus 6 FX2 7 15 3 16 n/c Solo Left 4 Left Lt to Decoder Lt From Encoder Mini AL Mini BL Bus 7 FX3 8 1 14 2 n/c Solo Right 4 Right Rt to Decoder Rt from Encoder MiniAR Mini BR Bus 8 FX4

CENTRE SECTION CHANNELS 1-24

4 x MIDI IN/THRU/OUT

BEHIND CHANNELS 5-12

Connector Type: 25-way D-type female

Rev:

Date:

Design:

Drawn:

Ref:

Studio Integration

Audio Connections

All connections to the AWS 900+ SE, with the exception of the two headphone jacks, are found on the lower rear p

anels of the console. The headphone sockets are located on the centre-section knee panel.

The console rear panel carries a label which identifies all the connections on the connector panel, and provides the pinout for each one (see facing page). This information is also provided in the Appendices section of this manual.

Line Level Input/Outputs

All other analogue inputs and outputs can be connected via a patchbay. It is recommended that the cable shield is connected at the console end and disconnected at the patch row to avoid ground loops. Wiring to the installation should normally have the shield connected to the patch row. The shield connection of all jacks should be linked together (note that patch rows with solid metal front panels will automatically do this) and then linked to a common star point on the patchbay. This starpoint can then be returned – via a thick grounding cable (6mm sq. or greater) – to the chassis stud on the rear of the AWS 900+ SE console. This will reduce the risk of earth loops within the installation.

Note that the shields of all analogue inputs and outputs other than the microphone inputs are connected directly to the chassis of the AWS900+.

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3-7

Installation

Connecting a Patchbay

The AWS 900+ SE may, of course, be fully or partially integrated to an external patchbay. 3rd party options are available, and SSL can provide patchbay solutions as cost options – contact your local SSL distributor for further information.

n example patch layout for the centre section and channels is provided below:

When constructing patchbays, the following guidelines may be useful.

Mic Inputs

If Mic inputs are being connected to a patchbay, then the patch jacks should be insulated from the main body of the patchrow. There are commercially available patchrows that meet this requirement. The ground connection from each microphone must be taken through the patch jacks to the XLR on the back of the console without interruption.

Instrument Inputs

It is not recommended that the ‘Instrument’ inputs are broken out to a pat chbay. These inputs are unbalanced, and the cable lengths should be kept at short as possible.

241 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

1 2 3 4 5 6 7 8 9 2410 11 12 13 14 15 16 17 18 19 20 21 22 23

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

241 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

1 2 3 4 5 6 7 8 9 2410 11 12 13 14 15 16 17 18 19 20 21 22 23

MAIN LS A MINI B

LRL

R C LFE LS RS

MAIN LS B

R C LFE LS RS

MINI A LR

AMP IN AMP

L RL

R C LFE LS RS

AMP IN

R C LFE LS RS

AMP

F/B A

OUT

F/B B

OUT

AMPALRA

MPB

REC OUT

REC

INSERT

RTN

1 2 3 4 5 6 7 8 9 2410 11 12 13 14 15 16 17 18 19 20 21 22 23

1L 1R 2L 2R 3L 3R 4L 4R

ECHO RETURN IN

FX OUT

L 1R 2L 2R 3L 3R 4L 4R

EXT A 6 TR 1

LCR LS RSLFE

EXT A 6 TR 4

LCR LS RSLFE

EXT A 6 TR 2

LCR LS RSLFE

EXT A 6 TR 3

LCR LS RSLFE

6 TRACK REPLAY 1

CR LS RSLFE

6 TRACK REPLAY 4

CR LS RSLFE

6 TRACK REPLAY 2 6 TRA CK REPLAY 3

CRLSRSLFE

123456

1L 1R 2L 2R 3L 3R 4L 4R

EXT B IN

3L 3R 4L 4R

STEREO REPLAY

1L 1R 2L 2R

KEY IN

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

LR LR LR LR

MON INS RTN

R C LFE LS RS

Lt Rt

MON INS SEND

DECODER

ENCODER

1.0

Solid State Logic

AWS900 + Standard Patch Layout

SD/GC

DIRECT OUTPUTS

CHANNEL LINE INPUTS

CHANNEL INSERT SENDS

CHANNEL INSERT RETURNS

2417 18 19 20 21 22 23

AWS900+

17/07/06TAWSPA.71

Title:

Revision:

onsole:

Sheet: Date:

Drawn by:

DAW INPUTS

MIC LINES

MIC INPUTS

DAW OUTPUTS

MIX

OUT

MIX

INSERT

L R

TRACK BUS OUT

12345678

Notes:

1. Patchrow AB is an isolated patchrow.

2. D31 is linked to C33, 35, 37, 39 D32 is linked to C34, 36, 38, 40

3. J47 and J48 are linked

4. Parallel A41-44, A45-48, B41-44, B45-48

Normalling Information:

All patchpoints are half normalled unless otherwise stated below.

A1-24 are fully normalled to B1-24. A25-48 are not normalled to B25-48 J1-16 are not normalled to K1-16. J23,24 are not normalled to K23-24. J46-48 are not normalled to K46-48.

341 2L R

CUE B FX SENDS

CUE A

FX IN

341 2L RR

ROW ROW

LTN

LST OUT

OSC

TB IN

LST MIC

1L 1R 2L 2R 3L 3R 4L 4R

STEREO RECORD IN

MIX DISTRIBUTION OUT

25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

USER OPTION

FX INFX IN

RECORDER IN

DIST

Installation

3-8

AWS 900+ SE Owner’s Manual

DAW Connection

The AWS 900+ SE console communicates with a DAW directly via Ethernet or via three MIDI ports. To use the Ethernet option a thi rd party ipMIDI software driver must be installed on the DAW computer. Which Using these m

ethods of communication allows the AWS 900+ SE t o be used with a wide variety of DAW applications on a wide variety of platforms. The AWS 900+ SE uses Mackie control or a ‘HUI’ compatible protocol, and so any DAW program that can be configured to use three HUI devices can access the full power of the AWS 900+ SE.

Please refer to your DAW manual for details on how to configure the DAW application for AWS 900+ SE under M

ackie or HUI control.

Overview

In normal operation the AWS uses an Ethernet connection for DAW control and the SSL AWS900 Remote for session management. The next section describes how to download and install the ipMIDI driver and AWS 900 Remote on Macintosh and PC.

Optionally the AWS 900 can use a standard MIDI connection between the AWS 900+ SE console and your DAW using a multi port MIDI interface. In this mode only one DAW layer can be configured. The console communicates with the DAW via the MIDI ports located on the rear of the console: Details are provided at the end of this section.

Installing the ipMIDI driver and Logictivity browser

Download on to your workstation computer etiher the AWS900SE_Mac_Support.dmg disk image (Macintosh) or the AWS900SE_Win_Support.zip file (windows). These contain the AWS 900 Remote and ipMIDI applications and the latest version of the installation instructions:

http://www.solidstatelogic.com/support/consoles/aws900+/downloads.asp

System Requirements for your workstation computer: AWS Remote is a Java application. It will run under Java Version 5 or higher. ipMIDI is compatible with Windows 2000 (maximum 9 MIDI ports), XP and Vista and Macintosh OSX 10.4 and OSX 10.5.

Software Installation (Macintosh)

Mount the AWS900SE_Mac_Support.dmg disk image and open it.

AWS Remote: Drag the enclosed AWS Remote application to the Applications folder, then to the Dock or any other convenient location.

ipMIDI: Double click on the ipMIDI.pkg file to run the installation program. Note that you will be asked to log out and in again once you have completed t he installation. Once you have logged back in open Audio MIDI Setup and double click on the ipMIDI icon. Set the number of MIDI ports to 10 in the resulting pop-up.

If you are upgrading an older copy of ipMIDI you must uninstall it before running the installer. To uninstall ipMIDI simply delete: </Library/Audio/MIDI Drivers/ipMIDIDriver.bundle>. You should empty the Trash after deleting the bundle file before running the installer.

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Installation

oftware Installation (PC)

Open the AWS900SE_Win_Support.zip archive.

AWS Remote: Copy the AWSRemote.exe file to the Program Files folder (or any other convenient location) then create a shortcut to it on your desktop and/or task bar. Double clicking on this will launch the AWS 900 Remote p

rogram.

ipMIDI: Run the setupipmidi_1.6.exe application (note that the last part of the name may change depending on the version you are installing) by double clicking on it. Note that you will have to restart the computer at the end of the setup process. Once the computer has restarted right click on the ipMIDI icon in the task bar and set the number o

f MIDI ports to 10 in the resulting pop-up.

If you are upgrading an older copy of ipMIDI you must uninstall it (using Add/Remove programs) before running the installer.

Make and configure the network connection

The AWS Logictivity software is designed to communicate with your workstation over Ethernet using the ipMIDI driver to emulate a multiport MIDI interface. The ipMIDI driver enables your workstation to send and receive MIDI control data via a network connection. Using Ethernet ensures the fastest possible communication between your workstation computer and AWS. This network connection is essential if you wish to benefit from all of the new SE features. The standard installation uses an RJ45 crossover network cable (not supplied) to connect the console’s network connector directly to a separate network port on your workstation computer using the console’s default fixed IP address of 192.168.1.2. Note that many computer adaptor cards will autosense a direct connection negating the need for a crossover cable. If you are unsure whether your workstation computer’s network adapter has this functionality, please use a crossover rather than a pin to pin cable.

It is possible to connect AWS to a larger network which incorporates multiple computers and to enable dynamic (DHCP) addressing. These configurations need special consideration. Please see the notes at the end of these instructions for details.

Direct Network Connection (Macintosh):

Please note that currently OS X does not allow two ports to be used for IP traffic. As such, the connection to your main network will not be available while the AWS is connected.

To simplify the process of switching between networks, it is recommended that you create a new network Location for the AWS900 in network preferences. Another Location (‘internet’ for example) could be created to enable connection t o the internet. This would use the network settings provided by your Internet Service Provider or network administrator. You can easily switch between network Locations by going to the Apple Menu and scrolling down to Location.

Installation

3-10

AWS 900+ SE Owner’s Manual

• Using an RJ45 cable, make a direct network connection between the network port on your AWS to a network port on your workstation computer and check that the IP address is set to FIXED in the console’s SSL > MISC > NET menu.

• Open System Preferences and click on Network. Create a new location by clicking where it says Location, scroll down to Edit Locations and click the ‘+’ sign. Name the new location AWS900.

• Next, select the Ethernet port which is connected your AWS and configure as shown below:

• If your Macintosh features multiple network ports, you should set the priority of these so that the Ethernet port connected to your AWS is at the top of the list. To do this, choose Set Service Order from the Actions pop–up menu:

AWS 900+ SE Owner’s Manual

3-11

Installation

• Now drag the port connected to the AWS to the top of the list (in our example this port is Ethernet 2):

• Now click OK then Apply.

• Alternatively, if you have already created a separate Location for your existing network you can simply delete the unused ports (Airport, Firewire) from the AWS900 location so that only the network port connected to AWS is remaining.

Installation

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AWS 900+ SE Owner’s Manual

Direct Network connection (PC):

• Double click on Network Conn ect ions in Start/Control Panel. Right click on the network adapter connected to your AWS (likely to be called "Local Area Connection"). Select Properties.

• Select Internet Protocol (TCP/IP) and Properties.

• Next, configure the adapter as shown below:

Click on OK on both windows to save. Back in your network connection list, right click on your adaptor and ensure that it is enabled. If it is disabled, the enable option will appear in the list. Click on enable.

AWS 900+ SE Owner’s Manual

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Installation

Enabling ipMIDI on your AWS:

In the SSL > MISC > SETUP menu, toggle the ‘MIDI connects via: ’ setting to ‘Network’. Your console will now communicate with your workstation via Ethernet. With ‘MIDI connects via:’ set to ‘MIDI ports, AWS will communicate with your workstation via the conventional MIDI connectors on the rear of your console.

ote: You will need to reboot the console after changing this option.

Also in the SSL/MISC/SETUP menu, ensure that the ‘DAW’ option (workstation layer 1) and DAW2 (workstation layer 2) are set to match your workstation or workstations if you are using the second layer. Please note that you will need to restart the console after making a change to the DAW layer options.

Finding the console on the AWS Remote application:

Launch AWS Remote on your workstation. If you only have one AWS console on the network, AWS Remote will automatically locate the consol e and the message ‘AWS 900 Connected’ will be shown in green text in the bottom left hand corner of the browser:

If you have multiple AWS consoles on the network or the AWS Remote browser did not automatically l ocat e your console ‘No AWS 900 connected’ will be shown in red text. In this instance, click on the find icon . If the list is empty, click on find AWS900, select the console you wish to connect to and click on select.

If your console does not appear in the list, it suggests you have a network related issue. Please follow the steps in the network trouble shooting section at the end of this document to resolve the issue.

Installation

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AWS 900+ SE Owner’s Manual

Setting your workstation(s) to communicate via ipMIDI

The AWS 900+ SE software uses 10 virtual MIDI ports which are pre-assigned as follows:

* Note that MIDI port 4 or ipMiDI port 7 can be used for MTC input, allowing MTC to be connected from systems (such as RADAR) that do not support the ipMIDI driver. MTC should only be routed to one port at a time.

Note that there are now two switchable workstation layers allowing to independent workstations to be interfaced. Once configured, you can switch between the two layers using the console’s SSL>DAW menu. Port 7: If your console is equipped with AWSomation, this port is used to feed AWSomation with MTC.

Port 8: Used for the import and export of legacy SysEx TR and AWSomation data.

Port 9-10: Mapped to the conventional MIDI connectors on the rear of the console allowing connection of a keyboard or other MIDI device to your DAW via ipMIDI .

To select which DAW is assigned to each layer go to SSL>MISC>SETUP on your console and select the following:

DAW 1: select from Protools HUI / Logic / Logic Handshake / Nuendo / Digital Perfomer / Sonar

DAW 2: select from Protools HUI / Logic / Logic Handshake / Nuendo / Digital Perfomer / Sonar / None

After making these changes the console should be restarted.

The MCU protocol suports automatic detection of connected control surface s. To enable this select Logic Handshake. Logic will then automatically detect the AWS. If you select Logic Handshake on both layers then Logic will detect 6 control surfaces, which may not be what you want! The other protocols do not transmit handshaking messages.

To enable control of your workstation via HUI or MCU your workstation(s) must be configured to match the appropriate layer in the list above. This is done using the MIDI Controller configuration page of your workstation.

The following pages show examples using Pro Tools 7 and Logic Pro 8.

Port Layer Assignment Port Layer Assignment

1 1 Faders 1–8 9 – AWS Midi port 1

2 1 Faders 9–16 10 – AWS Midi port 2

3 1 Faders 17–24

4 2 Faders 1–8

5 2 Faders 9–16

6 2 Faders 17–24

7 – MTC input *

8 – SysEx

AWS 900+ SE Owner’s Manual

3-15

Installation

ro Tools 7

In the Setup menu, click on Peripherals and select the MIDI Controllers tab. Using MIDI controllers 1, 2 and 3, select HUI as the MIDI controller Type and assign the MIDI ports for this layer’s DAW to the two MIDI controllers, as listed in the table above. If Pro Tools has been assigned to Layer 1, the MIDI Controllers window should look like this:

If you have AWSomation, set the MTC generator port in the Synchronization tab to ipMIDI port 7 (or AWS MIDI port 4 if you are using the console MIDI ports):

Also, set the MMC midi port in the Machine Control tab to ipMIDI port 7 (or AWS MIDI port 4 if you are using the console MIDI ports):

Installation

3-16

AWS 900+ SE Owner’s Manual

ogic Pro 8

When Logic is assigned to one of the two AWS workstat ion layers a Mackie Control together with a Mackie Control Extender must be added to the Logic Pro Preferences/Control Surfaces Setup menu as shown below:

AWS Faders 1-8 are mapped to the Mackie Control ports along with the Master Fader and workstation Cont rol function switches. AWS Faders 9 -16 and 17-24 are mapped to the Mackie Control Extender ports. The actual ipMIDI ports used will depend on which layer (or layers) Logic is assigned to. See the list of AWS MIDI port assignments for details. It is essential that the layout shown is followed. If the physical arrangement is reversed, then the AWS faders will not map correctly to the on-screen faders in Logic.

If the protocol is set to Logic Handshake, Logic should automatically detect the three virtual controllers which will be shown in the Logic Setup menu (as shown above), with the appropriate AWS ipMIDI ports assigned. If Logic fails to detect the control surfaces, then the controllers can be added manually via the New/Install menu and the appropriate MIDI Out port and Input assigned. As described above, normally only one layer should be set to Logic

Handshake.

Full details can be found in the online Logic Pro 8 Control Surfaces Support guide in the Logic Help Menu.

AWS 900+ SE Owner’s Manual

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Installation

Note: Logic’s Click and ports environment layer selects the SUM of all of t he ipMIDI unpu t ports as its default MCU control data source. This may lead to difficulties when using multiple DAW layers. To avoid Logic responding to MIDI messages intended for the other DAW layer, the Click and Port MIDI port mapping should be changed from S

UM to individual direct MIDI port assignment. The example below shows Logic on DAW layer 1:

Preferences/Control Surfaces Setup menu:

If you have AWSomation, set the MMC midi port in File/Project Settings/Synchronisation/MIDI to ipMIDI port 7 (or AWS MIDI port 4 if you are using t he console MIDI ports):

For other DAWs, please refer to the program’s manual for details about configuring MIDI controllers.

Installation

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AWS 900+ SE Owner’s Manual

Network trouble shooting:

Most Ethernet adaptor cards have two leds associated with each port. The first indicates that the link is connected and the second indicates network traffic. Please note that some Macintosh computers do not have external leds to indicate status. Instead the link status is shown in the System Preferences/Network menu.

n your host workstation computer, confirm that the link led is permanently illuminated. If it is not permanently

illuminated, it suggests you have a cabling error. In this instance please check the following:

• The RJ45 network connector on the console and on your workstation are fully insert ed.

•

If you are using a pin-pin cable to make a direct connection between your console and workstation, try replacing it with a crossover cable

• Try replacing the network cable

• If you are not using a direct connection between your console and workstation using the default fixed IP address on the console, please try this simple configuration to rule out issues with external routers and network switches. If the link led is illuminated, the next step is to confirm that the activity led is illuminating periodically to show network traffic. If it does not illuminate periodically check the following:

• If your workstation is not connected directly to your console using a crossover RJ45 cable and fixed IP addressing, follow the installation instructions to configure this simple netwo rk configuration to rule out issues with any external routers or network switches.

• Using the fixed default IP address on the console, check that the workstation has basic communications using ‘ping’.

On Windows: Select Run under the Start menu. In the resulting window enter cmd to launch the command

prompt. In the command prompt window enter ping 192.168.1.2

On OSX: Open a Finder window, select Applications, then Utilities, and double-click on Terminal. In the

terminal window enter ping –c4 192.168.1.2

In both cases your host computer will try to establish communications with your console. In the

resultant terminal text, check that the console responded to every message sent by your workstation.

AWS 900+ SE Owner’s Manual

3-19

Installation

Larger networks:

To ensure minimum latency the ipMIDI driver uses multicast UDP rather than TCP/IP. This means that:

• The network connection should be as short as possible and should only use routers that can support high data transfer rates. Problems have been experienced with some domestic routers, particularly when used with Pro Tools.

• Because ipMIDI uses multicast UDP packets, messages between one computer and AWS900+ SE will be received by all other computers on the network, potent iall y causing problems in installations with more than one AWS900+ SE. The UDP packets can be blocked by using a firewall rout er and connecting the main network to the WAN connector. The firewall can then be configured to allow all traffic apart from UDP ports 21928 through 21947 which are used by ipMI DI and (optionally) port 50081 which is used by the AWS900+ SE Remote application. Note that it may be necessary to use a separate Ethernet switch in place of the integrated firewall router switch, as some of these can not support the high data transfer rate required. The NetGear FS108 (an eight port switch) has been used successfully. Most systems can be easily configured with a direct connection between AWS900+ SE and the controlling computer.

Installation

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AWS 900+ SE Owner’s Manual

ssigning the AWS900+ SE IP Address:

By default, AWS900+ SE uses a fixed IP address of 192.168.1.2. Dynamic (DHCP) address can be selected via the SSL > MISC > NET menu. The currently assigned address is also shown in the MISC > ABOUT > NET menu. If your AWS900+ SE is connected to the computer via a network switch or router, it should be assigned a DHCP IP address; otherwise the fixed option should be used. Once you have altered the IP mode, you need to restart y

our AWS for the change to take effect. A software restart option is available in the SSL > MISC > NET menu.

An alternative fixed IP address can be set using the console diagnostic port. This should not be necessary in most installations. You will need a PC or Mac running terminal emulator software. Connect your computer’s serial port to the rear of the console using a 9 way ‘D’ type extension cable. The pin out for the console’s 9 way ‘D’ type serial connector is shown below:

Set the terminal as follows: Baud rate 19200, 8 data bits, No parity, No start bit, 1 stop bit, Flow control Xon/Xoff

Press the ‘Return’ key (<CR>) and the terminal window should echo a ‘>’ if communication is established. To fix the IP address type the following:

ip <CR>

setip nnn nnn nnn nnn <CR> where ‘nnn...’ is the IP address, 192.168.1.2

setmask nnn nnn nnn nnn <CR> where ‘nnn...’ is the subnet mask 192.168.1.1. Note that this should match other devices local to the console.

setgate nnn nnn nnn nnn <CR> where ‘nnn...’ is the gateway address e.g. ‘10 1 1 1’

Pin Description

1 Carrier (linked to 0V)

2 Tx

3 Rx

4 DTR (linked to DSR)

5 0V

6 DSR (linked to DTR)

7 RTS (linked to CTS)

8 CTS (linked to RTS)

9 RI (linked to 0V

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Installation

Enabling the AWS Logictivity features on your console

NOTE: The following only applies to AWS consoles that currently do not have AWS SE software.

1) F ind the console’s serial number. The serial number label is located on the rear of the console adjacent to the mains inlet connector. The serial number starts with the letters AWS followed by a numerical number. Make a note of the numerical number for the registration process (e.g. if the serial number is AWS293, not e 293).

2) If you have not registered your console on-line (or you have forgotten your username), complete the on-line r

egistration:

http://web.solidstatelogic.com/update/newuser.jsp

3) Navigate to the on-line registration page and enter your activation code and the numerical element of your console’s serial number previously noted. The activation code can only be used once. Please ensure that you enter the correct serial number:

http://web.solidstatelogic.com/update/activateacode.jsp

4) After a successful activation, you will be invited to download and install the latest version of software. Follow the link to the download page.

Using Physical MIDI Ports to Connect your DAW

Optionally the AWS 900 can use a standard MIDI connection between the AWS 900+ SE console and your DAW using a multi port MIDI int er f ace. In this mode only one DAW layer can be configured. To select this mode navigate to the SSL/Misc/Setup menu and set MIDI communicates via: MIDI Ports.

The console communicates with the DAW via the MIDI ports located on the rear of the console:

MIDI ports should be connected to your DAW MIDI interface unit – three available ports are required (one port includes an IN and OUT socket). To connect a port, the output of the MIDI interface unit port 1 should connect to the MIDI 1 input port of the AWS 900+ SE and the MIDI output of the AWS 900+ SE port 1 should connect to the input of your MIDI interface unit port 1. Repeat for the other ports using the diagram above as a guide. Port 4 is used both for archiving Total Recall and Automation data and to receive MIDI Timecode (MTC).

Follow the instructions on configuring your workstation but use the physical MIDI ports rather than the virtual MIDI ports when selecting MIDI ports.

Note that ports 5 and 6 are currently not implemented and are reserved for future expansion.

Please note that the recommended maximum length of MIDI cables is 15 meters.

IN OUT IN OUT IN OUT IN OUT IN OUT IN OUT

MIDI 1 MIDI 2 MIDI 3 MIDI 4 MIDI 5 MIDI 6

IN OUT IN OUT IN OUT IN OUT IN OUT IN OUT

Installation

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AWS 900+ SE Owner’s Manual

4-1

Section 4 – Console Operator’s Guide

Overview

The AWS 900+ SE is a powerful combination of analogue console and workstation controller from Solid State Logic. It draws on many years of design experience, and incorporates many features from SSL’s world famous m

usic consoles.

The AWS 900+ SE uses SuperAnalogue™ technology from SSL’s flagship music console, the XL 9000 K Series. The AWS 900+ SE retains all of its sonic benefits and maintains a control surface that will be familiar to any recording engineer who has previously used our 4000 or 9000 range of analogue audio consoles.

The rise of the DAW (Digital Audio Workstation) has brought many benefits to the audio production environment, including electronic editing, integrated digital effects processing and session storage and recall. However, the same problems of integration that have always existed still exist within the studio environment today. A studio requires either 5.1 or stereo monitoring in order to accurately monitor audio signals. The DAW will have no faders or tactile controls with which to operate its myriad of functions, so a comprehensive control surface is required. High quality microphone pre-amplifiers will be needed to capture real sounds with the highest possible signal integrity for high bandwidth DAW recorders operating at 192kHz. equalization and dynamics are required in the analogue domain by many users who still consider analogue the benchmark to which all digital processing is compared. Meters are required to view both input/output signals and recorded signal levels for all audio paths.

The AWS 900+ SE console has been carefully designed with all of these essential studio requirements in mind. It addresses all the needs of the current DAW environment in an integrated, high quality and robust design with all of the sonic benefits expected from a Solid State Logic SuperAnalogue™ console.

Years of design experience have been utilised to create the ultimate capture path for up to 24 simultaneous input paths into the DAW, where recorded signals can be edited, processed and mixed via the AWS 900+ SE control surface. The signal paths can then be either summed internally within the DAW or returned to the analogue domain for processing through the 24 SSL EQ sections and associated assignable dynamics processors. Combined with a comprehensive 5.1 monitoring section, audio can be auditioned with complete assurance that the fully balanced signal path throughout the console is of the highest possible audio integrity.

A high resolution digitally controlled gain element in each channel allows the 24 motorized faders to be switched to control any DAW that supports the HUI or Mackie control protocols while retaining the analogue signal path. The 24 faders and the 24 associated Channel Rotary Encoders provide direct control of DAW faders, pans, sends, input and output routing. The Master Control Panel and the in-board screen give paged control of all plug-in parameters under the HUI protocol.

In summary, the AWS 900+ SE is a Total Studio Solution for modern DAW based production environments.

About This Section

This section comprises two main parts. First there is an overview of how your DAW and the AWS 900+ SE can be used together. Following this is a description of the function of each part of the console. The use of the DAW controller section is covered in Section 5.

Console Operator’s Guide

Direct Outputs

DIRECT PRE/EFX

INST

MIC

LINE

auto

FLIP

L R

PAN

1 2 3 4

5 6 7 8

POST

Channel Module Rear Connector

Panel

TRACK BUS

TRACK BUSS OUTPUTS

MIX BUS OUTPUTS

RECORD BUS OUTPUTS

PAN

DAW LINE LEVEL OUTPUTS

SENDS TO THE DAW

5.1 OUTPUTS FROM DAW TO AWS EXTA INPUT

Master

Recorder

REC

MIX

L R

CUE A/B

FX 1/2 SENDS

FX 3/4 SENDS

CUE/FX SENDS

PRE

EFX

Record

Buss

x Buss

8 Tr

ack Busses

Cue/FX Busses

EFXBUS

EFX

Insert Send / Return

Stereo

Externa

l Rack

auto

FADER

+10dB

COMP

DYN

INS

COMP+10dBFADER DYN

INS

FADER

+10dB

COMP

DYN

INS

COMP+10dBFADER DYN

INS

REC

MIX

ChannelMo dule

Console C entreSection

CUE/FX

FB R

Out

FB L

Out

FOLDBACK A/B O/P

Foldback

Mixers

EFXBUS

2x 5.1 Monitoring Systems

L C R

CUTDIM

MAIN MONITORA/B OUTPUTS

MINI A

MINI B

Monitor Inserts,

5-2 Folddown,

Bass Managment,

PFL/AFL, Sp Cal

SUM

MIX

REC

EXTB

EXTA

SUM

LFE / Sub

SUM

EXTA4

EXTA3

EXTA2

EXTA1

BUS

5.1 MONITOR INPUT (1 OF 4)

STEREO MONITOR INPUT (X4)

REC

MIX

LEVEL

R INLIN

STEREO RETURNS 1-4

PAN

MONITORto FB

EQ DYN INS

EXTB3

EXTB2

EXTB4

EXTB1

LEVEL

Console Operator’s Guide

4-2

AWS 900+ SE Owner’s Manual

Routing and Signal Flow

In order to understand signal flow through the AWS 900+ SE’s various operational modes, first we need to d

iscuss how your DAW I/O unit is connected to the AWS 900+ SE console. Unlike a conventional in-line console

the AWS 900+ SE does not have a separate monitor path. Instead the DAW mixer is used to create a monitor mix (or mixes), with levels controlled from the AWS 900+ SE faders or rotary encoders. It is even possible to use the fader to control the analogue input level and the rotary encoder to control the DAW monitor mix levels, mimicking the operation of an in-line design. Following are a few possible connection schemes - many others a

re possible.

DAW System Configurations

The largest variable when dealing with DAW studio configurations is the amount of analogue I/O (Inputs/Outputs) or AD/DA converters that will be used to interface the AWS 900+ SE to your DAW. Standard studio configurations will vary between 2 and 32 (or even more) I/O systems. How many channels you require will depend on how you intend to use the system. The following guidelines are intended to help when designing your system. Feel free to ignore them if they don’t work for your application.

• The DAW mix bus should be connected to an external input to the monitor system. This will allow you to monitor the DAW mix and easily feed it to the foldback outputs. External A inputs are 5.1, External B inputs are stereo.

• If your main mix is 5.1 also connect a stereo output to the External B monitor selector so you can feed a stereo mix from your DAW to the console for headphone mixes.

• If you do not have many DAW outputs then also connect these outputs to line inputs on the console so you can easily mix the DAW outputs with other inputs.

• If you would like to mix in the analogue domain then you should connect as many DAW outputs as practical to the AWS 900+ SE line inputs. By using these as track outputs you can mix smaller projects entirely in the AWS 900+ SE. Larger projects can use the AWS 900+ SE as an analogue submixer or to combine DAW sub mixes.

• Connecting the Record bus outputs to two DAW inputs will allow you to quickly route any analogue channel to any track on the DAW.

• If you only have a limited number of DAW inputs then connecting the Track bus outputs to DAW inputs will allow several analogue inputs to be routed simultaneously to different tracks without patching.

• If you have a large number of DAW inputs then connecting them to the channel direct outputs will give a very short record path.

2 Channel DAW System

Even with only two DAW analogue inputs and outputs the AWS 900+ SE’s routing flexibility can greatly simplify your work flow. Connect the Record Bus outputs to the DAW analogue inputs, allowing any channel on the console to be routed directly to the DAW. Connect the DAW outputs to stereo External B input three (which is labelled DAW) on the AWS 900+ SE to allow the DAW output to be monitored and to used as a part of the foldback mix. You may also want to connect the DAW outputs to two of the channel line inputs to give even more control of level and routing.

8 Channel DAW System

If you have an 8 channel I/O DAW system, then you could connect the AWS 900+ SE Record Bus Output and Track Busses Outputs 1-6 to the eight inputs of the DAW I/O unit. The 8 DAW outputs can then be fed to any of the console’s channel inputs, and to 5.1 External A monitor input three (which is labelled DAW), to allow the DAW output to be monitored through the AWS 900+ SE monitoring section.

Routing and Signal Flow

AWS 900+ SE Owner’s Manual

4-3

Console Operator’s Guide

4-4

AWS 900+ SE Owner’s Manual

16 Channel DAW System

With a 16 channel I/O DAW system, you could connect the AWS 900+ SE Record Bus Output and Track Busses 1-8 to the first 10 inputs of the DAW I/O unit. Or you could connect the first 14 Direct Outputs from the console’s channel modules 1-14 to the inputs of the DAW I/O unit and connect the AWS 900+ SE Record Bus Output to inputs 15 and 16. T

he 16 DAW outputs can then feed any of the channel inputs, with outputs 1-6 also feeding the 5.1 External A console monitor inputs and 7 and 8 feeding the stereo External B monitor input. These could be used as track outputs from the DAW so you can mix small projects entirely in the analogue domain or to mix stems created in the DAW.

24 Channel DAW System

If you have a 24 channel I/O DAW system, you could connect the AWS 900+ SE Record Bus Output and Track Busses 1-6 to the first 8 inputs of the DAW I/O unit; console Direct Outputs 1-16 can then feed DAW converters 9-24. Alternatively, all 24 Direct Outputs could feed the 24 converters of your DAW I/O unit for one-to-one tracking from the AWS 900+ SE channel modules.

The 24 DAW outputs can then be fed to the console’s 24 channel inputs, and/or to the 5.1 External A and stereo External B monitor inputs.

32 Channel DAW System

For a 32 channel I/O DAW system, you could connect the AWS 900+ SE Record Bus Output and Track Busses 16 to the first 8 inputs of the DAW I/O unit. All 24 channel module Direct Outputs can then feed DAW inputs 9-32.

The first 24 DAW outputs could feed all of the console’s channel line inputs, and outputs 25-30 can be used as a

5.1 output and 31 and 32 as a stereo output to the AWS 900+ SE external inputs.

Custom Combinations

As you can see, a wide variety of connections are possible between the AWS 900+ SE and a DAW. It is worth taking some time and thought as to the best way to connect up your system for a flexible work flow that suits your studio’s requirements.

DAW I/O Labelling

When using DAW routing with the AWS 900+ SE console, it is advisable to take some time to sensibly label the inputs, outputs and busses within your DAW. Details on how to do this will be found in the documentation supplied with your DAW. Sensible labelling will make the task of performing routing via the AWS 900+ SE front panel a simple task, rather than relying on having to decipher long complex names often assigned by default to DAW channels.

For example in a 24 I/O system, simply naming inputs and outputs ‘1’ through ‘24’, and busses ‘b1’ through ‘b24’ will allow a simple differentiation between hardware I/O and internal DAW busses when using the console control surface. In some DAW systems, I/O paths can be grouped. In this case label stereo paths in pairs such as ‘1-2’, and sub paths as ‘1’ and ‘2’.

Example Methods of Operation

The following paragraphs will guide you through example configurations for the main production methods of R

ecording and Mixing.

In practice, these methods will cross over to a large degree, however we shall work through simple versions of each of them in order to understand the processes involved when using a DAW and analogue console together.

Section 5 includes detailed descriptions of the DAW interface and its operation.

Recording (using External Monitor Returns)

Overview

For the following example we will use the 2 channel I/O DAW configuration described above, where all the console Record Bus Outputs feed DAW inputs 1-2 and DAW outputs 1-2 feed the External B monitor selector, Input 3 (labelled DAW in the Monitor Control Panel).

Any of the 24 channel modules are available for recording signals to the DAW, while a stereo output from the DAW is used to monitor the DAW tracks. The block diagram below shows this in simplified form.

Detail

Record sources can be fed to the channel modules via either the channel microphone inputs, line level inputs or high-impedance instrument inputs. Spare channels can be used to return guide tracks, keyboard outputs and outboard effects devices.

Route all inputs to the console Mix Bus.

Create as many channels as you require within your DAW project, and assign all their inputs to input 1 or 2.

Assign the DAW channel outputs to the stereo output connected to the AWS 900+ SE External B monitor selector.

Select SUM, EXT B and MIX monitor source buttons on the Monitor Control Panel. Adjust the monitor level using the main monitor level pot. Switch to DAW focus mode and adjust the DAW monitor mix using the AWS 900+ SE faders. Switch to Analogue Focus mode and use the faders to set suitable levels on the AWS 900+ SE inputs.

FX AND GUIDE

INPUTS

RECORD

SOURCES

CHANNELS

REC BUS

MIX BUS

MONITOR BUS

DAW

REC MIX EXT B

Example Methods of Operation

AWS 900+ SE Owner’s Manual

4-5

Recording

To record an input route it to the Record Bus and remove it from the MIX bus. Select RDY on the Master Control Panel and press SEL to record arm the track on the DAW that you wish to record on. Pan the input channel if necessary. Provided you have Auto Input selected you should see the input signal on the DAW meters.

The channel equalizer can be used to process the input before recording it, and the assignable dynamics can be routed to either the input channel or the Record bus if dynamics processing is needed.

Creating a Monitor Mix

If you are in Stop you will hear the input to channels in ready via the DAW and via the Record bus if you select REC on the Monitor Control Panel. In Play you will hear the input signal via the Record Bus and playback from the DAW track. In Record you will hear the input signal via the Record Bus and via the DAW track. To remove this double monitoring either turn off REC on the monitor source selector or cut the DAW channel to remove it from the DAW mix.

Creating Foldback Mixes

Foldback mixes can be quickly created using the Foldback Mixer section in the AWS 900+ SE centre section. Select MIX and EXT B on the Mix 2 section and REC on the Mix 1 section, then use the Mix 1 and Mix 2 level controls to create a foldback mix. More complex mixes can be created using the CUE ST A bus in place of the Record bus.

Another independent mix can be generated using Foldback Mixer B and the CUE ST B bus.

Using the FX Returns

Using the four FX send busses, external FX processing such as reverbs and delays, can be used. FX unit outputs can be returned back into the AWS 900+ SE via the four Stereo Return inputs in the console centre section. These can be routed to either of the foldback mixers, and to the record and mix busses.

Recording To Multiple Tracks

In situations that require more than a pair of tracks to be recorded simultaneously the eight track busses can be used to generate mixes or the channel direct outputs can be used to record single sources.

Recording With a Split Desk

Selecting CHANNEL on the Master Control Panel while in DAW Focus will allow you to control the input levels from the channel rotary encoders and the DAW mix from the channel faders. Pushing the Channel Rotary Encoder will swap the encoder and fader, which allows some faders to control input level and others to control the DAW monitor mix, mimicking the operation of a split console.

Recording with a 5.1 Monitor Mix

If you wish to use a 5.1 monitor mix then the process of recording is much as described above, the only differences being that you should simultaneously produce a stereo mix from the DAW for foldback purposes and connect this to External source selector B. The MON source on the Foldback mixer section is fed by a 5-2 folddown of the main monitor busses, so this could also be used instead but means you have less control over the mix going to the foldback outputs.

Console Operator’s Guide

4-6

AWS 900+ SE Owner’s Manual

Mixing

There are three main methods of mix down available when using an AWS 900+ SE and DAW combination – mix d

own within the DAW, mix down via the AWS 900+ SE channel modules and a hybrid of the two previous methods.

The decision on which method to use will probably vary from session to session, with factors including time, sonic quality, session size and many others. The AWS 900+ SE is by no means fixed to a specific way of working either.

Mix down within the DAW

The first method effectively uses the DAW internal mix bus to sum the DAW channels together, producing an output mix which can be returned to the AWS 900+ SE, via either an External Input, or fed to individual channels on the desk for processing. Using channels to return the stereo master output to the desk is desirable if you have many other MIDI keyboard parts, samplers etc. which need to be monitored alongside the DAW return signal.

The channel modules can feed either the Mix or Record bus, both of which can, for complete monitoring flexibility, be summed together, along with other External Source signals.

The power of the AWS 900+ SE’s comprehensive DAW control functions can also be used to handle various aspects of mixing and editing for the DAW system. All 24 faders can act as DAW control faders, whilst the 24 channel rotary encoders act as assignable controls for other DAW functions. Details of all the DAW control functions can be found in Section 5 of this manual.

Mixing via AWS 900+ SE SuperAnalogue Channel Modules

The second approach is to feed individual DAW outputs directly to the AWS 900+ SE channel modules’ line level inputs, on a one-to-one basis. This means that the AWS 900+ SE can be used as a traditional analogue mixer, allowing analogue EQ and compression to be applied to individual DAW channels. Up to 24 fully-featured inputs can be accommodated in this fashion. The channel outputs can then be summed entirely within the analogue domain, and either recorded back into the DAW or mastered to a high-quality external recorder.

The Hybrid Mixing Approach

Using a combination of the two methods described above, a mix can be generated where some DAW outputs are pre-mixed to stereo, or 5.1 stems, and returned to the AWS 900+ SE via channel modules or External A monitor inputs. Other DAW channels can be routed individually to AWS 900+ SE channel modules. The External Source inputs and console Track busses can be summed together via the Monitor Control Panel’s External A source selector, and output via the monitor insert send to an external recording device.

Example Methods of Operation

AWS 900+ SE Owner’s Manual

4-7

Channel Strip

Introduction

he AWS 900+ SE analogue channel strip has a single signal path. However, users who are familiar with SSL’s range of in-line consoles will soon realise that the channel strip faders can control channel signals as well as virtual faders on the workstation, parallelling the large/small fader configuration of an in-line channel strip.

The channel features a switchable Mic/Line input; the channel output can be fed to the Record bus, the Mix bus, or any combination of eight Track busses.

In addition to the Cue Stereo send and four FX Sends, a dedicated Direct Output is provided.

The channel has comprehensive routing for EQ and filter, dynamics, and insert send/return points.

The channel strip is divided into four sections:

Starting with the ‘meter bridge’, an 8-channel wide panel (aka ‘tile’) holds the Track bus and Dynamics routing buttons as well as the channel meter.

Individual channel modules house the input section, EQ, Cue and FX Sends, Record and Mix bus routing, and the Pan pot.

The DAW control functions at the foot of the channel are mounted on an 8-channel wide panel.

Finally, each channel strip is fitted with a long-throw (100mm) moving fader (shown later).

At your first introduction to the AWS 900+ SE console, you will immediately see that the channel strip controls are presented in a pleasingly familiar manner. The following pages describe each control in detail, with brief coverage of the routing possibilities. See the start of this section for more on signal routing.

Note: In the following descriptions, the connectors referred to are on the rear of each

channel module, unless stated otherwise.

Console Operator’s Guide

4-8

AWS 900+ SE Owner’s Manual

SOLO CUT

SOLO

CUT

SEL

Gtr

SndA

Channel Input Section

his provides a balanced Line Input (XLR connector) with ±20dB of gain (the pot is indented at unity gain), and a Super Analogue mic amp (XLR connector) with switchable 48V Phantom Power, 20db PAD. The INST button selects a 1 MΩ high impedance input (6.35mm jack), suitable for sources such as guitars, for control via the MIC pot. FLIP toggles the Mic/Instrument (red LED) and Line inputs (green LED). N

ote that selecting INST will automatically force selection of the Mic/Instrument. Phase

reverse (Ø) for the selected (balanced) input.

Filter

18dB/Octave high pass filter (HPF). The filter is out of circuit when the control is fully anticlockwise. When the filter is in circuit, the normally red EQ IN LED lights green.

Equalizer

The G-EQ button toggles all bands between the default ‘E-Series’ parameters to the curves and control interaction of ‘G-Series’ EQ. The bands basically function as follows: HF high frequency shelving equalizer switchable to fixed Q parametric (BELL); HMF high frequency parametric mid band equalizer; LMF low frequency parametric mid band equalizer; LF low frequency shelving equalizer switchable to fixed Q parametric (BELL). The EQ IN button (located next to the insert buttons) routes the channel signal through the EQ and filter section. When in circuit, the EQ IN LED lights red. If the filter is also in circuit, this LED changes to green.

Insert Point

The INS IN button routes the channel signal via the balanced insert ‘SEND’ and ‘RTN’ jacks on the rear of the channel module. The insert point defaults to post the

equalizer; PRE places the insert before the equalizer. In conjunction with the Dynamics IP and OP routing buttons, the order of the EQ, Insert and Dynamics sections can be configured for a wide variety of processing and routing architectures (see page 4-12 for more on signal processor routing).

Direct Output

DIRECT PRE/EFX button sources the channel direct output from a pre fader signal instead of the default post fader signal unless an EFX send (see below) is active. If an EFX send is active and PRE/EFX is selected this is routed to the direct output instead of to the track busses. The PRE/EFX LED lights red to show the direct output is fed by the pre fader signal or green if fed by an EFX send.

Cue Stereo Send

The Cue Stereo send is normally fed a pre fader signal but can be selected to POST fader. An alternative Cue Stereo bus may be selected by pressing CUE B. The level pot is fitted with a push-push On/Off switch. Master controls for the two Cue Stereo outputs are provided in the centre section. See below for details on the EFX button.

FX Sends

Four mono FX send busses are provided. The FX3 and FX4 buttons enable sends 1 and 2 to access busses 3 and 4. Each level pot is fitted with a push-push On/Off switch. Master controls for these sends are provided in the centre section.

The EFX buttons isolate the selected send (including Cue Stereo) from its mix bus and route the signals to either the Track busses, or to the Direct Output if DIRECT PRE/EFX is selected, allowing additional independent effects send or headphone mixes to be easily generated. Pressing EFX on the stereo send routes Cue Stereo left to odd Track busses and Cue Stereo right to even busses. Mono FX sends are routed to all Track busses. Note that only one of the channel aux send controls may feed the EFX system.

Channel Strip

AWS 900+ SE Owner’s Manual

4-9

Channel Output

The stereo pan pot feeds two independent stereo busses via the REC(ord) and

MIX buttons. Post pan signals may also be fed to the eight Track busses.

D-Pot Cut and Solo

UT and SOLO buttons for the gain function assigned to the rotary encoder.

SOLO is only active when a channel fader (DAW or console) is the assigned function.

D-Pot Rotary Encoder

This control is used to adjust the currently assigned DAW parameter or the

analogue channel level; functions are assigned from the centre section (see Section 5).

Upper Scribble Strip

Displays the channel name, the name of a DAW track, selected send, or I/O data

according to the function currently assigned on the Master Control Panel (see Section 5).

Lower Scribble Strip

Displays the name of the track being controlled by the channel fader, or other DAW

information, according to selections made on the Master Control Panel (see Section 5).

Selected Channel Function

The SEL button operates the DAW ‘Selected Channel’ function. This function can

be assigned from the centre section, to track arm a selected channel or assign the ‘plug-in’ editor. Tallies in the channel meter display Record Ready and Edit status when the console is in ‘DAW Focus Mode’ (see Section 5 for more details).

Channel Cut and Solo

CUT and SOLO buttons for the gain function assigned to the channel fader.

SOLO is not active if a function other than the channel level (DAW or console) is being controlled.

Scribble Strip

Traditional scribble strip – use it for scribbling on.

Automation control

Automation mode switch for the currently assigned DAW track; the LEDs indicate automation write and

read statuses (see Section 5 for more details).

Moving Fader

100mm moving fader controls the analogue channel, or assigned DAW track, or send level. The required

function is selected via the Master Control Panel (see Section 5 for details).

Console Operator’s Guide

4-10

AWS 900+ SE Owner’s Manual

SOLO CUT

SOLO

CUT

SEL

SndA

L R

REC

MIX

•

• 40

•

• 0

•

auto

11 12

DAW Status Indicators

EC indicates the Record Ready status of the currently assigned DAW track.

EDIT shows if the DAW channel associated with that channel strip is currently

assigned to the plug-in editor (see Section 5 for more details).

Channel Meter

Dual 12-segment peak meters indicate either analogue channel input (post input trim) or the DAW meter level on the left hand bargraph. The bottom segment lights permanently when metering analogue signals to provide a clear indication of which signals are being displayed. The meter source follows the Console Focus selection, so in DAW focus the meters display DAW signals and in Analogue Focus Mode the meters display analogue inputs.

Stereo DAW tracks use both bargraphs.

5.1 channel tracks can be displayed across three meters by pressing OPTION + SOLO to select the track.

OVERLOAD

Indicators give a clear indication of an overload condition, even if you can’t hear it! The overload threshold is +24dBu for analogue signals and 0dBFs for digital signals..

Track Bus Routing

For routing channel and EFX signals to one or more of the eight Track busses. The default channel to Track bus source is post fader; PRE selects the pre fader channel signal. PAN selects the post channel pan output. PRE defeats the PAN signal if selected. If an EFX send is active, the routing source to the Track busses is the selected Cue/FX level pot output unless the DIRECT PRE/EFX button is pressed.

Dynamics Assignment

The Dynamics 1 and 2 buttons insert one of the two centre section compressor/gate processors into the channel path. These are non-latching buttons that will only function if that processor is not currently assigned to another channel or stereo bus. The dynamics sections normally receives a post EQ, pre insert signal. The IP and OP buttons place the dynamics section as the first or last element in the channel processing chain. See page 4-12 for more details.

Channel Module

AWS 900+ SE Owner’s Manual

4-11

Signal Processor Routing

In keeping with SSL’s legendary range of large-format consoles, the AWS 900+ SE provides comprehensive s

ignal processor routing facilities. Each channel strip has access to up to three separate signal processing

devices:

• 4-band parametric equaliser and high pass filter

• Assignable dynamics section comprising a compressor/limiter and expander/gate

•

Any device connected the channel insert point

Three buttons – IP, OP, and PRE are used to determine where each processor will be placed in the signal chain. Three additional buttons are provided to switch each device into circuit:

EQ IN, INS(ert) IN , and dynamics IN

Two further buttons – Dynamics 1 and 2 are used to select on one or other of the assignable dynamics sections.

The table below shows the routing possibilities along with some applications for the insert send/return where it is not needed for use with an external processor (note that selected buttons are shown with white text on a black background).

Note that the dynamics processors may be keyed from an external signal. See page 4-18 for further details.

INSERTDYNAMICS

EQ > DYN > INS

INS > EQ > DYN

DYN > EQ > INS

DYN > INS > EQ

EQ > INS > DYN

INS > EQ > DYN

ADDITIONAL 'NON INSERT' APPLICATIONS

Pre fader send to recorder; external mic pre direct to channel fader

Channel mic pre to recorder; external mic pre to channel processing

Pre fader send to recorder; external mic pre direct to channel fader

Channel mic pre to recorder; external mic pre to channel processing

PROCESS ORDER

PRE

Console Operator’s Guide

4-12

AWS 900+ SE Owner’s Manual

This page is intentionally blank

Signal Processor Routing

AWS 900+ SE Owner’s Manual

4-13

Console Operator’s Guide

4-14

AWS 900+ SE Owner’s Manual

Centre Section

Introduction

The console’s centre section (see opposite) – although not strictly in the centre of the console – comprises four main areas:

Centre section meter panel.

Analogue master control functions.

TFT screen and associated control panel dedicated to DAW control.

In the fader area, a dual purpose panel provides further DAW-associated functions and motion controls, while on the right of this panel are located controls for the main bus outputs, including an assignable

master fader, plus a set of talkback buttons.

The following pages cover all the analogue controls in the centre section. See Section 5 for details of the console’s DAW control facilities.

Power Supply Indicators

Starting in the top left of the main area of the centre section, you will find a row of four LEDs that display the current state of power rails within the console. The ±15 Volt and the +4 Volt supplies are for analogue audio and logic circuitry respectively. The +12 Volt supply provides power for the faders and some relays. All LEDs should normally be illuminated, if not – try not to panic!

The rest of the analogue facilities in the centre section will be discussed in a logical ‘audio’ order, starting with the console’s main outputs.

Main Output Functions

Both the console’s stereo Record and Mix busses are provided with identical controls. To see these in diagrammatic form, refer to the foldout diagram at the end of this manual.

A ‘mini-matrix’ of main bus select functions (see left), on the motion control panel, is used to assign facilities to either of the busses:

Press and hold the required RECORD or MIX bus button.

Select the required facility; the associated ‘flag’ will light to confirm your selection.

To all intents and purposes, the bus signal flows through these facilities from top to bottom.

The Record and Mix busses have balanced pre fade insert points. Switching on INS switches the insert point into circuit, with the insert return replacing the bus signal. If ∑ is selected then the insert return is summed with the bus signal. This opens up a number of creative options - for example you can sum the output of another submixer or of your DAW with the console mix busses without using channels or you can process some signals via the Record bus, then sum the Record bus outputs with the Mix bus for further processing.

This insert point for each bus is pre main fader and compressor (see below). The insert send and returns are connected via 6.35mm jacks on the centre section connector panel (Send/Return, Left/Right).

Centre Section

AWS 900+ SE Owner’s Manual

4-15

Dynamics (DYN)

The centre section dynamics may be inserted into the Record or Mix bus (not both) using the DYN button in the main bus select matrix (see previous page). If the indicator does not light check that neither of the dynamics units is assigned to a channel.

he dynamics sections are inserted after the insert point; Dynamics 1 handles the left bus, Dynamics 2 the right

bus; select the LINK function for stereo tracking.

Stereo Compressor

The AWS 900+ SE features a new version of SSL’s legendary G Series (aka Quad) compressor. The compressor can be assigned to either the Record or Mix bus (not both) using the COMP button in the main bus select matrix (see previous page).

Selecting the IN button to switch the compressor into circuit introduces no additional audio circuitry to the main outputs.

This is a high quality stereo compressor with straightforward controls. The gain MAKE-UP simply acts as a level control to compensate for the lowered level that is a consequence of compressing the signal. This control may be set so as not to change the overall output level when the compressor is switched in. The meter indicates dBs of gain reduction.

Master Fader

The master fader can be selected to control the stereo Record bus or the Mix bus by selection of the appropriate FADER function on the main bus select matrix. The fader can control the level of both Record and Mix busses simultaneously but can only set the level for one bus at a time. The fader uses a 36-bit, Hi-Resolution MDAC.

If required, a further 10db of gain may be introduced by selecting the +10dB function on the main bus select matrix. When selected, use the right hand scale on the master fader.

The automation status button and LEDs fitted next to the fader are not used at this time.

Following the injection of talkback and tone, the main output busses feed XLRs on the centre section connector panel.

Metering

The Record and Mix bus are each provided with a dedicated pair of VU meters above the centre section.

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Centre Section Dynamics

Two assignable dynamics sections are provided. Each section comprises a compressor/limiter and a g

ate/expander, both of which use the same gain element. The dynamics may be assigned singly or as a pair to any channel using the Dynamics 1 and 2 buttons on the channel meter panel. Alternatively, they may be assigned to the Record or Mix busses by means of the DYN function on the main bus select panel. In this case, Dynamics 1 is used for the left bus, Dynamics 2 for the right bus. The IN button switches the entire section in and out of circuit

Compressor/Limiter Section

RATIO – When turned to 1:1, the compressor/limiter section is inactive. Turning the control clockwise increases the compression ratio, giving a true limiter at the fully clockwise position. The compressor normally has an ‘over-easy’ characteristic. Pressing the PK button switches this to peak sensing, and replaces the ’over-easy’ characteristic with a hard knee.

THRESHOLD – Whenever a signal exceeds the level set by this control, the compressor will start to act at the ratio set by the RATIO control. The THRESHOLD and RATIO controls also provides automatic make-up gain, so as you lower the threshold and introduce more compression, the output level is increased, maintaining a steady output level regardless of the amount of compression.

FST ATK – Normally the attack time is program dependent (3mS - 30mS). Press this button to select a fixed fast attack time (3mS for 20dB gain reduction).

RELEASE – Sets the time constant (speed) with which the compressor returns to normal gain settings once the signal has passed its maximum.

Gate/Expander Section

This section can act as a ∞:1 Gate or as a 2:1 Expander when the EXP button is pressed.

RANGE – Determines the depth of gating or expansion. When turned fully anticlockwise (Range = 0), this

section is inactive. When turned fully clockwise, a gate depth of 40dB can be obtained.

THRESHOLD – Determines the level at which the gate opens or below which gain reduction begins (EXP selected). Adjustable from +10dBu to -20dBu. Variable hysteresis is incorporated in the threshold circuitry to prevent spurious triggering of the gate when the signal is close to the threshold level. This means that the signal has to decay roughly 2dB below the threshold level before the gate will start to close.

FST ATK – Normally, a controlled linear attack time of 1.5ms per 40dB is provided. Press this button to select a fast attack time (100µs per 40dB). The attack time is the time taken for the Gate/Expander to ‘recover’ once the signal level is above the threshold. When gating signals with a steep rising edge, such as drums, a slow attack may effectively mask the initial THWACK, so you should be aware of this when selecting the appropriate attack time.

RELEASE – This determines the time constant (speed), variable from 0.1 to 4 seconds, at which the Gate/Expander reduces the signal level once it has passed below the threshold. Note that this control interacts with the Range control.

HOLD – Determines the time after the signal has decayed below the threshold before the gate starts to close. Variable from 0 to 4 seconds.

Centre Section Dynamics

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Metering

he yellow and red LEDs indicate the amount of gain reduction the compressor

section is applying.The green LEDs indicate the amount of gain reduction applied

by the Gate/Expander section.

The LINK button links the sidechain signal of that unit to the sidechain of the other dynamics section. When the two sections are linked, the control voltages of

ach section sum together, so that whichever section has the most gain reduction will control the other section. Don’t try to link two gates using the LINK button when you want the signal on one to open the other - as soon as one gate closes both will close, which probably is not what you wanted. If you need to achieve this effect, take a keying signal from one channel to trigger the other. The easiest way to do this is by patching from the insert send of the ‘source’ channel into the key input of the appropriate dynamics section (see below).

The KEY button enables a dynamics section to be controlled by an external source signal. Connect the source via the appropriate key input jack on the

centre section connector panel.

Track Bus Master Controls

The master output level controls for the eight track busses (in the top right of the centre section – see left) all have 10dB of gain when turned fully clockwise. The controls are indented at the ‘12 o’clock’ position, which corresponds to 0dB gain.

Following level control, the bus outputs can be injected with tone (oscillator TRACK switch) and talkback (talkback SLATE switch) before being fed to a 25-way D-type on the centre section connector panel.

An AFL function (post tone and talkback inject) is provided for each bus. The AFL signal is intelligently assigned to left and right AFL busses. Selecting AFL on a single Track output will route signal to both left and right AFL busses. Selecting AFL on odd and even numbered Track outputs will route the odd numbered output to the left AFL bus and the even numbered output to the right AFL bus.

A set of LCD bargraph meters in the centre section are dedicated to metering the bus outputs.

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Monitoring

The large knob below the ‘MONITOR LEVEL’ display normally sets the level of the main control room monitors. If you push the monitor pot, you will enter ‘calibrated’ mode. See 4-24 for further details.

The column of six buttons to the right enables this control to be used for the named functions.

You will be monitoring on whichever set of speakers is selected from the ‘LS SELECT’ group: the Main 5.1 speakers (‘Main A’ – the default with no buttons selected), ALT 5.1 (‘Main B’), MINI A or MINI B.

The loudspeakers are fed from whatever source has been selected in the ‘MON SRC’ group of buttons.

These include the Record bus (REC), the Mix bus (MIX), and two external source selectors, EXT A and EXT B. Sources will be intercancelling unless the SUM button is selected. All sources to the monitoring are stereo except those brought in via the EXT A monitor source selector (see below).

The console has three monitor modes: 5.1, DOWNMIX and MONO, selected via the ‘MON MODE’ group of

buttons. 5.1 mode is the default (DOWNMIX and MONO not selected) and connects all six monitor busses to their respective monitor outputs. Selecting DOWNMIX folds down the 5.1 inputs to the monitor path via a 5-2 matrix, and feeds the result to left and right monitor outputs. The centre channel is reduced in level by 3dB.and fed to both left and right in this mode. MONO can be selected with or without DOWNMIX and sums the left and right monitor busses, feeding the result equally to the left and right monitor outputs. The ØL button follows the MONO switch and reverses the phase of the left monitor feed, providing a quick way of checking for any phase anomalies in a stereo mix. The SOLO button turns the monitor cut buttons (see next page) into monitor solo buttons. The SOLO CLEAR button lights when a channel SOLO button or any centre section AFL button is pressed. Press this button to cancel any Solo/AFL/PFL function.

If either MINI A or MINI B are selected, the left and right monitor busses are fed to the corresponding stereo mini loudspeaker output. Control the level using the main monitor pot by selecting MINI in the ‘MISC LEVEL’ group . When a Mini speaker output is selected, the 5-2 DOWNMIX is automatically switched into the monitor circuit to deal with any 5.1 sources present.

The DIM button dims both main and mini loudspeaker outputs by a preset level. Set this level by selecting

DIM in the ‘MISC LEVELS’ group and using the main monitor pot. The DIM button is automatically activated when any of the following buttons are pressed: LISTEN, TB ALL, F/B A, F/B B, EXT T/B, Oscillator to TRACK, REC or MIX.

The CUT button cuts the monitor feeds to whichever set of monitors is selected. CUT is activated

automatically by the SLATE talkback button.

CUT and DIM can also be activated externally via the GPIO/Talkback connector.

Monitoring

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Monitoring (Continued)

The six main monitor outputs can be muted individually with the L, C, R, LS, RS and LFE (sub) monitor cut buttons . Note that these can become monitor solo buttons by selecting the SOLO button in the ‘MON MODE’ group .

All the monitor outputs are available for connection to amplifiers via the centre section connector panel. The two

5.1 outputs (Main and Alt) and the two Mini outputs feed two 25-way D-type connectors – ‘MON A’ and ‘MON B’; the two Mini outputs (Mini A and Mini B) also feed individual XLRs for left and right.

External Source Selectors

Two external monitor source selectors are provided. EXT A has four external 5.1 inputs. These may be fed by any source of six channels or less. Track busses 1-6 provide a fifth input to EXT A.

EXT B is a 2-channel selector with four stereo inputs. In either case, sources may be summed together; this is particularly useful for generating complex foldback mixes or when stem mixing, as it allows the recorded stems to be monitored together with the current mix.

To select an external monitor source, first press either the EXT A or EXT B button , choose a source from those shown in the display, and press the soft key under that source (or first press the key under SUM to sum selected sources). Finally, route the external source(s) to the monitors by pressing EXT A or EXT B in the ‘MON SRC’ group. The LTR selection on EXT B provides monitoring for an encoder’s LtRt output - see below.

Inputs to the external source selectors are connected via 25-way D-types (four for External A, one for External B) on the connector panel.

It is also possible to rename the consoles ‘External Sources’. Please see chapter 8 - The AWS Console & Logictivity for further information.

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Monitor Insert

The External A selector (ie all 5.1 sources) output is automatically routed via a 5.1 insert point to which an e

ncoder/decoder system may be interfaced; this insert may be switched in/out of circuit using the Monitor Options INS key (see page 4-21). The insert send and return appear on two 25-way D-type connectors on the connector panel. The insert point also has connections for the two channel output from the encoder and the input to the decoder. These allow monitoring of the encoder output (‘LtRt’) signals and provide automatic routing of the External B selector outputs to the decoder inputs for playing back encoded recordings through the d

ecoder. The logic for this is as follows:

• With no sources selected on External B the encoder outputs are linked to the decoder inputs.

• Selecting any source on External B will route the External B outputs to the decoder inputs.

• Selecting EXT A and INS will monitor the insert return; if no source is selected on External B you will hear

the External A signals through the encoder and decoder. If a source is selected then you will hear the decoded output of External B.

• Selecting EXT B and INS and selecting a source on External B will monitor External B.

• Selecting EXT B and INS with no source selected on External B will monitor the LtRt encoder outputs. The

LTR soft key lights to show this. Note that LTR is selected by turning off all other External B sources.

Monitor Options

A wide range of monitor options are available via the soft keys and associated display in the Monitor Control Section. Pressing the MONITOR OPTIONS button above the display produces the following choices; press the button below an entry to select that option.

INS – This switches the encoder/decoder insert into the monitor path for use with 5.1 monitor sources selected via the EXT A monitor selector.

PFM – This routes the PFL signal to the Mini A loudspeakers. In this mode the PFL level is controlled by the PFL level control only - the Monitor and Mini level controls have no effect.

SRA – Both sets of Main speaker outputs are capable of handling six channels. If you are mixing in 5.1 and the client turns up with an alternative set of ‘front’ (LCR) speakers only, the surround feeds may be locked to the Main A outputs by selecting the SRA (Surround on A) function. This allows you to switch to the alternative LCR speakers, connected to the Main B output, and still maintain full surround monitoring. A further option (A2B – see page 4-22) enables the subwoofer output to be included in this arrangement.

LRA – Similar to the SRA function except that the LCR monitor feeds are locked to the Main A outputs but an alternative set of surround speakers may be selected by switching to the Main B output. This can be useful in rooms that work on both music, using full bandwidth separate surround speakers, and film using multiple lower powered surround speakers.

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Monitor Options

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Bass Management

electing BASS produces a further layer of bass management options (see next page for options held under CAL).

80H – Inserts a 7th order, 80Hz, low pass filter into the LFE monitor bus, to deal with listening to 5.1 material that has a full range, unfiltered, LFE channel.

BMN – Turns on the Bass Management system. This is designed to extend the low frequency response of the monitoring system, and to simulate the 5.1 monitoring systems in TV and domestic environments. It inserts 12dB per octave, 80Hz high pass filters in the L, C, R, LS, RS monitor outputs, and feeds a mono sum of these five outputs to an 80Hz, 24dB per octave, low pass filter, which is summed with the LFE monitor bus. Post this summing point, the combined signals feed via a 10Hz subsonic high pass filter before reaching the subwoofer monitor output. These are the default filter slopes. Internal links (see Appendix page A-17 for details) allow them to be set to 12dB or 24dB per octave and to select whether or not the surround channels are included.

Note that this option is stored separately for each set of speaker outputs (like the level calibration), so it is

possible to have Bass Management enabled on one set of speakers and not on others.

LF0 – Normally, the LFE bus level is increased by 10dB post the main monitor level control, as this is a requirement for DVD playback. If you are mixing for SACD, or any other format that requires unity gain on the LFE channel, select LF0 to restore the LFE bus level to unity gain.

NEXT – selecting this produces a second layer of options:

A2B – Retains use of the Main 5.1 subwoofer, even when you switch to the ALT 5.1 loudspeaker selection.

BMA – Uses the Alt 5.1 subwoofer instead of the main subwoofer for bass management when MINI A is selected and BMN is on.

BMB – Uses the Alt 5.1 subwoofer instead of the main subwoofer for bass management when MINI B is selected and BMN is on.

RTRN – Returns you to the top layer of the MONITOR OPTIONS selection.

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Monitor Level Calibration

The monitor calibration system enables the level of any loudspeaker connected to the AWS 900+ SE to be t

rimmed by ±10db. Note that with the monitor gain at maximum a trim level of +10dB corresponds to unity gain

through the monitor section.

Do not attempt to carry out loudspeaker calibration unless you have accurately calibrated test equipment.

electing CAL in the first layer of MONITOR OPTIONS produces the following options:

Turn on the console oscillator (OSC ON) and select the PINK ON button; the default level for the console’s pink noise output is +4dBu RMS. Adjust using the Pink trim pot in the oscillator section if necessary.

Set the monitor level control to the position you wish to correspond to the calibrated level. A level of 8.5 will provide 10dB of additional gain in hand.

Now select the required monitor system – Main 5.1, Alt 5.1, Mini A or Mini B.

Select the CAL menu. Pressing either AL or AR or AC will send pink noise to the Left or Right or Centre loudspeakers respectively. Adjust the level for the required SPL (eg. 85dBa C weighting, slow response, on a suitably calibrated dB meter), by turning the main monitor pot left or right from its initial position.

Now work through the rest of the speakers (see below), checking before you calibrate the LFE output whether the 0dB option (see page 4-22) is off or on.

85dB calibrated level – please see following page.

NEXT – selecting this in the first layer produces a second layer of calibration options:

Selecting ALS or ARS or ALF allows you to trim the Left Surround, Right Surround or LFE channels respectively by ±10db, using the method described above.

LFG – This stands for Low Frequency Gain. This trim allows the gain of the contribution from the full bandwidth channels to the subwoofer output to be adjusted. Like all the speaker calibration settings it must be set for each set of speaker outputs (assuming bass management is in use).

Having lined up the six main speakers, select LFG. In LFG mode all speakers are initially muted, and the six monitor cut buttons will light; un-cut the left output and with the bass management turned on (note that the BMN selection in the BASS menu is duplicated in the CAL menu) adjust the LFG gain for a flat low end response. Cut the left output, un-cut the right output and check this has a flat low end response. Repeat for all channels. Depending on how well matched the monitors are you may have to adjust the LFG gain slightly.

Note that when LFG is on the LFE monitor output is always cut. This does not mute the actual subwoofer output, only the LFE signals feeding it. This ensures that you are only measuring the contribution from the bass management system.

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Monitor Options

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Monitor Level Display and Calibrated listening level

The SSL > MISC > SETUP menu provides two additional options.

Monitor Gain Display: Music (Off to 11)

Film (Off to 95dB)

Gain (Off to 0dB)

Monitor Set CAL level is: 70 - 90

Furthermore it is possible to change the Monitor Level pots resolution between ‘Fine’ and ‘Large’ in ‘Music’ or ‘Gain’ modes by pushing down on the pot. The display above it will show which mode it is in. ‘Fine’ mode makes adjustments in 0.1dB steps while ‘Large’ mode adjusts the value in 0.5dB steps.

When working in ‘Film’ mode pushing down on the Level pot will adjust the monitor volume to the user defined calibrated level selected in the SSL>MISC>SETUP menu. Normal selection here would be the international recognized 85dB but it is possible to set a range from 70dB to 90dB. It is recommended that you use a SPL meter to calibrate your studios monitoring level to match that displayed on your Monitor Level display.

The monitor gain corrosponding to +85dB SPL can be set in the Monitor options / CAL page 1 by adjusting the main monitor level control to give an SPL of 85dB, then pressing the 85dB switch.

Note that if you make a change to this value in the Setup menu while running in Calibrated mode this change will not be reflected until you come out of Calibrated mode and re-enter it. You can tell which mode you have switched into as it will display either ‘Cal’ for calibrated or or ‘UCal’ for uncalibrated. Bear in mind that switching to a calibrated level of 85dB may cause a significant increase in listening volume so take care not to damage your hearing and of course your loudspeaker monitoring system.

The third option setting ‘Gain’ allows a range of volume level settings where the maximum value is 0dB. All other values are reductions of this level through to ‘OFF’.

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SOLO / AFL / PFL

The console’s default Solo mode is a destructive solo-in-place – soloing a channel cuts all other channels. The a

lternative solo modes – AFL, PFL and Solo-in-front are selected via the soft key display in the Monitor Control Section. Press the AFL/PFL button above the display to produce the following options:

AFL – Pressing a channel solo button routes the post pan signal, via the stereo AFL bus and the AFL level control, to the currently selected monitor speakers.

PFL – Pressing a channel solo button routes a mono pre -fade signal, via the PFL bus and the PFL level control, to the left and right Main monitor speakers. Optionally, PFL signals may be fed to the Mini loudspeakers – see

PFM on page 4-21.

SIF – (Solo In Front) Pressing a channel solo button routes a mix of the AFL signal and the selected left and

right monitor sources to the monitor outputs. The SIF level control (see page 4-20) adjusts the balance between AFL signal and desk output.

ISO – This allows you to solo isolate selected channels.

ALT – Makes channel solo buttons intercancel with each other, so that soloing one channel will clear any other

solo selections.

MOM – This option makes all the channel solo buttons momentary.

Cue/FX Send Master Controls

Each channel is fitted with one Cue Stereo and four mono FX sends for use as foldback, feeds to effects devices, etc. The Cue Stereo outputs from each channel may be routed to one of two busses – Cue Stereo A or Cue Stereo B and the FX1 and FX2 outputs to the FX3 and FX4 busses respectively.

The master output level controls for these busses (in the top right of the centre section – see left) all have 10dB of gain when turned fully clockwise. The controls are indented at the ‘12 o’clock’ position, which corresponds to 0dB gain.

An AFL button is provided for each output. The AFL signal is intelligently assigned to left and right AFL busses. Selecting AFL on a single FX output will route signal to both left and right AFL busses. Selecting AFL on odd and even numbered FX outputs will route the odd numbered output to the left AFL bus and the even numbered output to the right AFL bus.

The two Cue Stereo and four mono FX outputs are available to external devices via a 25-way D-type connector on the centre section connector panel. The mono FX sends are also available on 6.35mm jacks on the connector panel.

A dedicated set of LCD bargraphs just above the master controls provides metering of the Cue and FX busses.

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Foldback and Headphone Outputs

The console provides three stereo outputs – Foldback A and B, intended for use in the s

tudio for headphones or LS playback, plus a stereo headphone feed for control room use; sockets for this are provided on the knee panel beneath the centre section. The foldback outputs feed jacks on the centre section connector panel, from where they may be connected to amplifier inputs.

he master controls for Foldback A and B are provided by two identical sections (see

left – one section only shown).

Each output has a dedicated LEVEL control, CUT, AFL, and six source selector buttons with associated level controls:

The MIX 1 pot controls the contribution of the Record bus (REC) and/or the output of the EXT B (EXT) source selector, to the foldback mix.

The MIX 2 pot controls the contribution of the Mix bus (MIX) and/or the output of the EXT B (EXT) source selector, to the foldback mix.

In addition, Cue Stereo A (ST A) and the stereo downmix control room monitor signal (ST MON) may be selected as sources. Foldback B uses Cue Stereo B as its cue source.

Dedicated F/B A and F/B B talkback buttons are used to add talkback to the foldback outputs.

A small area of the monitor control panel (see left) provides source selection (control room monitor and foldbacks) and a CUT function for the console’s stereo headphone output. Two headphone sockets are provided below the motion control panel.

The level of this output is set using the PHONES button in the ‘MISC LEVELS’ section of the monitor panel, in conjunction with the main monitor pot.

Stereo FX Returns

The console’s four stereo FX Returns are designed to be driven by the outputs of devices which have been fed f

rom the corresponding mono FX busses. Inputs to the returns are interfaced to the console via 6.35mm jacks

on the centre section connector panel.

Four identical sets of controls are provided. The controls for FX Return 1 are shown on the left.

CUT and L CUT cut the associated input – useful for checking reverb returns,

and to defeat unwanted signals on the ‘open’ input when using mono returns.

The STUDIO level control and its two associated routing buttons (FB A and FB B) allow FX Return signals (post input cut, pre return level control) to be mixed with

the two Foldback outputs.

MONO – when this button is up, the BALANCE control will provide a balance

between the left and right return signals. With MONO selected, the return inputs are summed, and the BALANCE control now acts as a pan control. This is very useful when you are using a mono FX device, as it saves having to parallel return inputs.

WIDTH adjusts the stereo width of a return from full stereo to mono.

REC and MIX enable the output of the return to be routed to the main mix

busses. Return signals will be distributed across the busses according to the balance/pan, and width settings.

AFL – Feeds return signals (pre balance and width controls) to the stereo AFL

bus. The rotary LEVEL control set the return level (pre balance and width controls) to the main mix busses.

Misc Options

A number of useful options can be accessed via the MISC menu. Press the MISC button above the display to produce the following options:

0dB – Sets all faders to 0dB.

IND – When selected pressing any fader Auto switch will set that fader to 0dB.

MIC – Sets all channels to mic input.

LNE – Sets all channels to line input.

REC – Routes all channels to the Record bus. A second press un-routes all channels from the Record bus.

MIX – Routes all channels to the Mix bus. A second press un-routes all channels from the Mix bus.

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Communications

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Communications

A group of communications buttons (talkback etc.) are fitted on the motion c

ontrol panel (see below). A built-in talkback microphone and controls to set the level of TB to Foldback, Talkback Out (an external talkback feed), Slate level (talkback to Mix, Record and Track bus outputs) and an incoming Listen mic, are provided in the utilities section, above the TFT screen (see left).

ote that a gain control for the talkback mic preamp is provided on the connector panel adjacent to the external talkback output jack. If required, an external talkback mic may be connected to the console’s talkback distribution circuitry via an XLR on the connector panel. When using this facility, turn the console mic preamp gain fully anticlockwise (off) if you no longer wish the inboard mic to contribute to the talkback system.

Note also that, apart from the Slate function which cuts the monitors, all the following functions dim the monitors.

Slate interrupts the Record, Mix and Track bus outputs with talkback.

TB to Foldback is added to the foldback outputs after the level and cut controls. Individual talkback buttons are provided for each foldback output (F/B A and F/B B – see below).

Talkback Out controls the level of talkback to an external feed, available via a 6.35mm jack on the connector panel. This signal may be activated by the EXT T/B button (see below).

Listen controls the level of an external mic signal connected via an XLR on the centre section connector

panel. The mic is usually placed in the recording area and selection of the LISTEN talkback button (see below) injects the mic signal onto the Mini A loudspeaker feeds, and dims the main loudspeakers. The circuitry features SSL’s legendary listen mic compressor, the sound of which is much loved by many experienced SSL users, and so the connector panel provides a post compressor output jack – ‘Listen Mic Out’.

The ‘COMMUNICATIONS’ buttons (to the left of the master fader) control the switching and routing of the talkback and listen mic signals discussed above, as well as the switching of a red light.

RED LIGHT – this provides an isolated contact closure for hooking up to a studio red light via an external relay box. This function can

be fired from a GPI input (see Section 3 for details).

TB ALL feeds the talkback mic to the foldback sends and the external talkback output.

Note: The talkback switch functions are all duplicated on the Talkback/GPIO connector on the rear of the

console as are the monitor CUT and DIM switches. See Section 3 for more information.

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It is possible to alter the way in which the Talkback, Listen and Red Light communication switches function.

Changes to the settings are made via the AWS console menu SSL > MISC > SETUP

Talkback switches: Momentary / Latching / Auto (Play) / Auto (Record)

isten switch: Latching / Auto (Play) / Auto (Record)

Red light switch: Manual / Auto (Play) / Auto (Record)

The ‘Auto’ modes inhibit the Talkback and/or Listen switches when the transport Play or Record tally is lit. Selecting red light to one of ‘Auto’ modes makes it follow the Play or Record tally.

Oscillator

The word oscillator is a slight misnomer in this case, as the console actually provides a comprehensive tone and pink noise generator!

The ‘Oscillator’ section (see left), located above the TFT screen, contains controls for frequency, level and routing of tone or pink noise to the Mix, Record and Track bus outputs and to the monitor outputs for use in monitor calibration (see page 4-22).

OSC ON activates the oscillator output (surprise, surprise!). It’s good practice to turn the oscillator off when recording, to prevent any accidental routing to desk outputs.

PINK ON switches the output from tone to pink noise. Note that the pink noise level can only be adjusted using the Pink ‘Cal’ preset.

The LEVEL control adjusts the level of the tone generator from -25dBu to +20dBu. When fully anticlockwise, a preset ‘Cal’ level is selected which can be calibrated using the multiturn presets located below the level control; a red LED lights to show when the level control is in the calibrated position.

When OSC ON is selected, the rotary FREQ switch provides six preset frequencies.

The oscillator may be routed to the TRACK busses, the MIX bus and the RECord bus (individually or simultaneously). The oscillator output is also available on an XLR on the centre section connector panel.

Centre Section Metering

AWS 900+ SE Owner’s Manual

4-29

Centre Section Metering

Fitted above the centre section are four VU meters dedicated to reading left and right outputs of the Record and Mix busses.

Beneath these are three sets of eight LCD bargraphs. These are dedicated to the metering of (from left to right): the L, C, R, LS, RS, LFE monitor busses, plus stereo metering of the Solo/AFL/PFL bus (MONITOR); the eight Track bus outputs (TRACK BUSSES); Stereo Cue A and B plus the four FX bus outputs (CUE/FX BUSSES). The standard scale is +24dB for 0dBFS (top of the scale); see below for alternative scale options.

The monitor and solo meter feeds are also available via a 25-way D-type connector on the centre section connector panel, for use with external metering/monitoring.

Meter options are provided by soft key selections on the monitor panel; select the METERS button to produce the following selections:

DAW – Locks the channel metering to the selected DAW layer.

Anl – Locks the channel metering to the analogue layer.

If neither DAW or Anl are selected the channel metering follows the consoles Focus switch.

PK – Switches the meters to peak reading mode; peak readings are held for 3 seconds.

HLD – Select this to hold the peak readings indefinitely.

CLR – Press this to clear the currently held peak readings.

Further meter scaling available in ‘SSL / Misc’ menu. Options are as follow; 24 dbu = 0dBFS / 22 dbu = 0dBFS / 20 dbu = 0dBFS / 18 dbu = 0dBFS.

EXTA EXTB

AFL/ PFL

MONITOR OPTIONS

METERS MISC

Console Operator’s Guide

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AWS 900+ SE Owner’s Manual

DDAAWW AAnnll PPKK HHLLDD CCLL RR

DAW Control

Most of the left hand side of the centre section is taken up with the TFT screen and control panel dedicated to u

se with your workstation. See Section 5 of this manual for full details.

The AWS console Setup Menu

The centre section TFT screen provides access to a Setup menu that contains a number of useful console r

elated items. To access this menu go SSL > MISC > SETUP.

To change a setting, use the left hand D-Pot to select the item, then press the D-pot to enter adjustment mode. Turn the D-pot to the desired setting and press it a second time to save the setting to non volatile memory.

Input cut enable: If set to ON, the channel strip CUT button will prefade sends, ie Aux and CHOP

sends. (OFF / ON)

Analogue Meter Scaling: Sets the analogue level corresponding to 0dB on the console meters. (Range 18,

20, 22, 24 dBu).

Scribble strip brightness: Use this to adjust the backlight level for the channel scribble strips (range 4 - 36)

Turn Off Displays After: Shuts off the scribble strip display after the defined period of time in 30 minute

increments. (range 30 Minutes - 5 Hours)

Glide frames: Sets the ramp time in frames for the AWSomation SNAP mode. (range 0 - 255)

Rollback threshold frames: Sets the number of consecutive, decrementing frames that the system needs to see

to determine if a Rollback has taken place. The range is 2 - 10; the default is 2 frames. Increase as required if a Rollback occurs when you stop the timecode master.

Latched Match & Play: Yes / No. Please see section 7 of this manual for further details.

In Mix show: When using the SSL AWSomation you have a choice of what is displayed on

the consoles channel scribble strips. The choices are "Automation Mode" (the status of the channels AUTO, SAFE or MANUAL), "Channel names in Mix running" will display the channels name once EXECUTE is pressed in AWSomation. "Channel names" the scribbles always display the channels names regardless.

The following three options are detailed in 4-27. The range of settings is shown below.

Talkback switches are: Momentary / Latching / Auto (Play) / Auto (Record)

Listen switch is: Latching / Auto (Play) / Auto (Record)

Red light switch: Manual / Auto (Play) / Auto (Record)

I/O Module

AWS 900+ SE Owner’s Manual

4-31

The next items are specific to DAW control. Please see section 5 and 5A for mored details on DAW control and Setup.

IPMIDI: Determines whether Ethernet MIDI connection is being used. (choice of Yes / No)

DAW: Selected primary DAW ( choose from Protools HUI /

Logic Audio (no handshaking) / Nuendo / Digital Performer / Sonar)

DAW 2: Secondary DAW selection ( from Protools HUI / Logic Audio (no handshaking) /

uendo / Digital Performer / Sonar / None)

The last two items are detailed in 4-23. Their ranges are shown below.

Monitor Gain Display: Music (Off to 11) / Film (Off to 95dB) / Gain (Off to 0dB)

Monitor Set CAL level: 70 - 90

On occasion when changing the status of some of the above functions you will be prompted to reboot your AWS console. It is possible to do this without reaching the Power switch at the rear of the console through the addition of a soft menu RESTART. When you select this you will be prompted to CONFIRM and your console will reboot.

Console Operator’s Guide

4-32

AWS 900+ SE Owner’s Manual

Introduction

AWS 900+ SE Owner’s Manual

5-1

Introduction

hen connected to a Digital Audio Workstation which support either the HUI or Ma ckie Control Universal (MCU) protocols, the AWS 900+ SE becomes a powerful digital work surface controller, giving direct access to the most important controls within the DAW. The console faders can be used to control the workstation faders and sends, the 24 channel D-Pots can be used to control pans, sends and I/O functions and the Master Control Panel and plug-in controller provide easy access to a range of other parameters.

Provided the Logictivity option has been enabled the AWS 900+ SE can control two DAWs simultaneously from two virtual ‘layers’.

For an up to date list of compatible DAW applications please go to:

http://www.solidstatelogic.com/support/consoles/aws900+/faq.asp

Pro Tools and a number of other DAWs support the HUI protocol. For further information (based on Pro Tools

7.1) see pages 5-3 through 5-24 of this section.

Many other DAWs, including Logic Audio, Sonar, Nuendo and Digital Performer, support the Mackie Control Universal (MCU) protocol. For further information, see page 5-25 onwards of this section.

Please refer to the controller documentation that came with your DAW

DAW Controller Features Summary

• Direct access to all major DAW mixing, editing and automation parameters

• Direct control of plug-in settings

• Integral colour TFT display with dedicated control keys

• High resolution rotary encoder (D-Pot) in every channel provides control of DAW pans, sends and I/O routing

• High quality motorised faders to write/replay level moves in your DAW

• Simple switching between console layer and DAW control layer

• Full remote control implementation

• Operation independent of platform or application

Configuring Two DAW Layers

The AWS900+ SE can connect to two DAW’s simultaneously which are cont rolled from the two virtual ‘layers’. Control operations performed on the AWS900+SE control surface will then affect whichever DAW is assigned to the currently selected layer. To select which DAW is assigned to each layer go to SSL>MISC>SETUP on your console and select the following:

MIDI Connects via: Network Note that only one DAW layer is available when using the standard MIDI ports.

DAW 1: select from Protools HUI / Logic/ Logic Handshake/Nuendo / Digital Perfomer / Sonar

DAW 2: select from Protools HUI / Logic/Logic Handshake Nuendo / Digital Perofomer / Sonar/None

After making these changes the console should be restarted.

Setup IpMIDI ports 1, 2 and 3 as the MIDI controller ports within the Primary DAW and IpMIDI ports 4, 5 and 6 as the MIDI controller ports within the Secondary DAW. See section 3 for more details as to the setup of each specific DAW.

To switch between the two DAW’s go to SSL>DAW and choose either DAW1 or DAW2 to make it the currently selected layer. When the desk is in DAW Focus then the consoles controls will only effect the selected DAW.

Section 5 – DAW Control Guide

Communication with your DAW

The AWS 900+ SE connects to your chosen DAW via three MIDI ports at the rear of the console or via MIDI over Ethernet. Each AWS 900+ SE DAW layer emulates three HUI or MCU controllers. The HUI and Mackie Control (MCU) protocol are widely supported by DAW manufacturers.

Section 3 details the MIDI and/or network connections between console and computer and the installation of the ipMIDI driver software.

Refer to your DAW manual for informat ion on how to configure your software. Once configured and connected, communication with the DAW will be initialised, and the level of the AWS 900+ SE channel faders, rotary controls and master functions will be set to match the DAW controls (provided you are DAW Focus mode and have the right DAW layer enabled).

HUI Status Display

When using the HUI protocol the AWS 900+ SE display shows the status of the three MIDI connections in the top right hand corner of the screen. A graphic represents the three channel bays and the centre section of the console. Bays without MIDI communications are shown with a red cross through them. Note that for AWS 900+ SE MIDI port 1 (4 on layer 2) connects channels 1-8 and the centre section controls; MIDI ports 2 (5) and 3 (6) connect channels 9-16 and 17-24 respectively. When using the MCU protocol the status boxes are always ‘crossed’.

If MIDI communication fails on any bay recheck the DAW configuration, MIDI connections and MIDI interface for correct operation.

When using your DAW without the AWS 900+ SE, you should remove the AWS 900+ SE from the MIDI controllers section of your DAW (please see the information specific to your DAW).

Note: Ethernet MIDI is only available to older 900 and 900+ console owners who have purchased the SE software upgrade.

Logic Handshaking

Logic Audio uses a challenge - response system to aut omat ically detect connected controllers when it boots up. This feature can be enabled by selecting ‘Logic Handshake’ when choosing the protocol type in SSL/Misc/Setup. Selecting any of the other MCU protocols with disable this feature.

DAW Control Guide

5-2

AWS 900+ SE Owner’s Manual

Introduction

HUI and MCU common Features

This section describes functions that are common to both HUI and MCU protocols.

The AWS 900+ SE faders and Solos and Cuts panels can be switched between controlling the analogue audio signal path and the DAW using the Focus switch - see below. The Motion Control Panel, Master Control Panel and Plug-in Editor always control the DAW. The illustration above shows the DAW controller elements in ‘DAW Focus Mode’. The greyed-out areas indicate analogue-only console elements.

D-Pots

Each channel contains a continuous rotary controller or ‘D-Pot’ The Plug-in editor has four D-Pots for control of continuous plug-in parameters.

Console Focus

The console can be set to one of two important modes using the Consol e Focus button located on the Master Control Panel. This switches the channel meters, faders, solo and cut buttons between control of the analogue signal path and the DAW. When the Console Focus button is illuminated, the AWS 900+ SE is in ‘Analogue Focus Mode’. When the focus mode button is not illuminated, the AWS 900+ SE is in ‘DAW Focus Mode’.

This section describes the operation of the console in DAW F ocus Mode.

Analogue Focus Mode

The channel faders control the channel audio output level for that fader. The channel meters indicate analogue input level to that channel. The channel D-Pots are available to control DAW parameters.

DAW Focus Mode

The channel faders control the DAW fader levels. The meters indicate DAW track levels. The channel D-Pots are available to control other DAW functions such as pan or send level.

Channel Meters Mas ter Control Panel Plug-in Editor

Channel Faders Solo and Cuts Panels Motion Control Panel

AWS 900+ SE Owner’s Manual

5-3

DAW Control Guide

5-4

AWS 900+ SE Owner’s Manual

Digital ‘In-line’ Mode

When the console is in DAW Focus Mode, analogue level control can be assigned to the D-Pots by pressing the CHANNEL button in the Master Control Panel. This allows the modern equivalent of a classic ‘In-Line’ console design, but in this case the monitor mix is created using the DAW digital mixer.

The Master Control Panel

The Master Control Panel includes a mixture of master functions and modifier keys for control of a DAW. The layout shown below is for HUI. Alternative layouts for the various MCU implentations are given in pages 5-25 onwards.

Channel Banking Controls

The AWS 900+ SE console has 24 touch sensitive moving faders, however, if the DAW session has more faders than this, the AWS 900+ SE can ‘bank flip’ its faders to control any number of virtual faders within the DAW.

To flip the 24 console faders to the next set of 24 DAW faders, press the right bank button. To flip back to the previous 24 faders press the left bank button. Any number of virtual faders can be controlled from the AWS 900+ SE using the banking buttons.

To scroll the faders one at a time, press the CHANNEL button (located between the two banking arrow buttons) followed by the left or right banking buttons; the CHANNEL button will light to indicate it is in ‘Channel’ mode. Press the CHANNEL button once more to switch back to ‘Bank’ mode.

CHANNEL

OUTPUT

SSIGN

AUX2

PAN

SEND

INPUT

RDY SEL

Push to Flip

MEM

ALT

STATUS

TRANS

EDIT

UNDO

SAVE

HIFT

CTRL

OPTION

ALT

SUSPEND

AUTO

RDY ALL

NTER

MUTE

DEFAULT

BYPASS

RE/POST

CHANNEL

3 4

11 12

3 4

AWS 900+ SE Owner’s Manual

5-5

Pro Tools HUI Control Guide

his section describes functionality on Digidesign’s Pro Tools package V7.1 and above. The functionality of other

packages will depend on their implementation of the HUI protocol.

DAW Window Buttons

This group of keys provide instant access to the various windows within the DAW. Press them once to display or hide the relevant menu.

ALT Opens or closes the floating window for the currently selected plug-in.

STATUS Opens or closes the Session Setup window.

TRANS Opens or closes the Transport window.

MEM Opens or closes the Memory Locations window.

MIX and EDIT Brings the window to the foreground. The button lights to show t he currently active

window.DAW Utility Buttons

This group of four buttons provide shortcuts to useful functions in the DAW.

SAVE will light when unsaved data is present. Pressing it once will cause the SAVE button to flash. A second press will Save the Pro Tools session. Press ESC to cancel a pending Save.

The UND O button will light if undo is available and flash if redo is available. Press the UNDO button to Undo the last function and press ALT + SHIFT + UNDO to Redo the last function.

ENTER duplicates the function of the ENTER key on the computer keyboard.

ESC(ape) duplicates the function of the HUI F8 key.

Modifier Buttons

These buttons modify the function of other buttons. Their function is detailed in the relevant sections of the manual.

OPTION typically changes the function of a single button to affect all similar buttons. T hus holding down OPTION and pressing a channe l CUT button will cut all DAW channels. It is a direct equivalent of the Macintosh Command key.

SHIFT allows selection of multiple objects or controls. It is a direct equivalent of the computer keyboard Shift key.

ALT increases the resolution of rotary controls and inverts switch selections when held down. It is a direct

equivalent of the Macintosh keyboard Option key.

CTRL disengages grouping when held down. It is a direct equivalent of the Macintosh keyboard Ctrl key.

DAW Control Guide

5-6

AWS 900+ SE Owner’s Manual

The Default Button

Faders, pans and sends can be reset to their default values using the DEFAULT button:

Resetting Pans

Select the PAN button on t he Master Control Panel, and all 24 D-Pots become pan controls. Hold the DEFAULT button while pressing the D-Pot on the channel you wish to reset. Hold down OPTION and press DEFAULT to p

erform a reset across all pans.

Resetting Faders

Hold the DEFAULT button while pressing the (SELECT) SEL button on the channel you wish to reset. Hold down OPTION and press DEFAULT to perform a reset across all faders.

Resetting Sends

Select the SEND button on the Master Control Panel. Turn the Master D-Pot to scroll through the list of available sends. Hold the DEFAULT button while pressing the channel D-Pot on the channel you want to reset. Hold down OPTION and press DEFAULT to perform a reset across all sends.

Resetting Plug-ins

Hold the DEFAULT button and press COMPARE (the Plug-In Editor function). The plug-in default value is

either the factory setting or user setting determined within the DAW.

Channel Functions

AWS 900+ SE Owner’s Manual

5-7

Channel Functions

In DAW focus mode the channel meters, faders and part or all of the Solo and Cuts tile control the DAW and display its status.

DAW Meters

When in DAW focus mode, the 24 stereo channel meters indicate the level of the DAW signal path. Mono tracks are displayed on the left meter only. When a signal reaches 0dBFs, the corresponding OVER tally will light to indicate that the DAW signal level has clipped.

These meters duplicate the function of meters within your DAW, and show the same information. The meters also follow DAW pre or post fader meter settings, as set within the DAW.

TIP: OVER tallies can be reset using the F1 function in the Fkys softkey menu

Status Indicators

The meter shows the status of the corresponding DAW track.

REC flashes when the track is in record ready and lights when t he track is in record.

EDIT indicates that the track is selected for editing with the plug-in controller.

Multi-channel Metering (TDM Systems Only)

Multi-channel metering can be displayed by pressing OPTION + SOLO on a selected multichannel track. The next two stereo meters are used to show the additional information. Normal metering functionality resumes after deselecting the SOLO function.

Channel Fader

The channel fader can control any virtual DAW fader including Channel, Master, Auxiliary, MIDI tracks or Instrument tracks. The calibration of the fader will depend upon the DAW (please refer to your DAW manual for more details). Pressing ALT will display the gain of the DAW fader on the fader scribble strip when you move the fader.

Fader Grouping

Channel faders will follow any grouping enabled within your DAW. F aders can be disengaged from a fader group simply by holding down the CTRL button or by touching one fader in a group while adjusting another fader’s level. Relative fader levels are maintained upon release of the fader.

0 2 4 6

8 10 14 20 30 40 50 60

OVER OVER

REC EDIT

33 34

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DAW Control Guide

5-8

AWS 900+ SE Owner’s Manual

Channel Solo and Cut Tile

Channel D-Pot

ach channel has a continuous controll er or D-Pot. This can be used to control Send levels and Panning, and to assign Input, Output and Send routing. See page 5-9 for more details.

The D-Pot includes a push switch that is used (depending on the centre section m

ode) to select sends to be pre or post fade, to mute sends and to confirm I/O

selections. See page 5-10 for more details.

Solo and Cut Buttons

Two sets of Solo and cut buttons are provided on each channel. The upper set is associated with the signal path controlled by the channel D-Pot and the lower set with the signal path under fader control. Thus in Analogue Focus mode and with CHANNEL mode selected the lower set of buttons control the analogue path and the upper the DAW channels. Changing to DAW Focus reverses this.

When a DAW solo is active the cut buttons on the other channels flash.

Holding down OPTION and pressing a channel SOLO/CUT button will select/deselect that function across all channels. If channels are already solo’d then this will turn off all solo buttons, making this a quick way to clear solos.

Solo Isolate

Holding down ALT and pressing a channel SOLO will put a channel into Solo Isolate mode. This mode prevents that channel f rom being cut when a SOLO is activated on another channel. This is particularly useful for FX return tracks.

Channel Select Button

The channel SEL button can function as a channel select button, a track record enable or a plug-in edit enable button, depending on the mode selected on the Master Control panel . See page 5-8 for more details.

Scribble Strip Displays

When an AWS 900+ SE channel fader is controlling a DAW fader level, the channel scribble strip will indicate a four character version of the DAW channel name. When controlling the analogue channel it displays the number of the fader, eg ‘Fader 23’.

The scribble strip can also display other information such as: Automation status, Grouping information, Monitor information (see page 5-20), Input/Output routing, Send routing, Send Pre/Post information (see page 5-11), fader level display (see page 5-6) and Pan position (see page 5-9).

The D-Pot scribble strip displays the DAW channel name or analogue fader number in CHANNEL mode or the selected function (Pan, ASGN etc) in other modes.

1814

1916

Gtr

SOLO CUT

SndA

SEL

SOLO

CUT

Channel Functions

Channel SEL Button – Track Arming/Edit/Select

The function of the channel SEL button depends on the mode selected on the centre section RDY, EDIT and SEL keys on the Master Control Panel.

Record Ready Mode

If RDY is selected all 24 channel SEL buttons become Record Ready buttons. Pressing a channel SEL button puts the DAW track into Record Ready (provided that the DAW track has an input routed). The REC tally above the meter flashes to show that the track is in ready.

Ready All

Track arming can be set or cleared across all channels by using the master RDY ALL button. This button flashes if any DAW tracks are in Record Ready. Pressing this switch while it is flashing will clear all track arming.

Record Safe

To put a DAW track into Record Safe (so it cannot be put in to Ready) hold down

ALT and press the channel SEL button. Hold down ALT + OPTION then press any SEL button to set all tracks to Record Safe.

Edit Mode

With EDIT mode selected the channel SEL button can have a number of functions:

This function will only work for the first 8 DAW channels in Pro Tools V6.4 and above.

Provided BYPASS is off pressing one of the channel SEL buttons assigns the plug-in editor to that channel. The EDIT tally on that channel will light to confirm that this is the EDIT channel. See page 5-18 for more details.

A double press on the SEL button will select the first plug-in in that channel for editing. Successive double presses will select the next plug-in in that channel.

Selecting the BYPASS button on the Master Control Panel changes the channel SEL buttons to BYPASS buttons. Pressing a channel SEL switch will bypass all plug-ins on that channel. The channel EDIT flag will light to show that all plug-ins are bypassed.

Gtr

SOLO CUT

SndA

SEL

SOLO

CUT

HANNEL

UTPUT

SSIGN

AUX2

END

NPUT

Push to Flip

MEM

TATUS

RANS

MIX

EDIT

DIT

NDO

ESC

AVE

HIFT

TRL

PTION

USPEND

AUTO

RDY ALL

ENTER

UTE

EFAULT

YPASS

PRE/POST

HANNEL

3 4

11 12

AWS 900+ SE Owner’s Manual

5-9

DAW Control Guide

5-10

AWS 900+ SE Owner’s Manual

Select Mode

All 24 channel SEL buttons become track select buttons. They perform the same f unct ion as clicking with the mouse on a channel in the DAW.

double click on a SEL button will open the channel naming pop-up for that channel.

Multiple channels can be selected by holding down the SHIFT button while selecting further SEL buttons or by holding down the first SEL button you pressed while you select more channels. Note that this last method only works within blocks of channels corresponding to a single HUI interface.

Hold down OPTION and press any SEL button to select all channels.

Hold down ALT and press any SEL button to invert the state of all select buttons.

Working with the Channel D-Pots

The channel D-Pots can control DAW channel pan, Send (Aux) levels and pan, routing assign ment and analogue audio levels. Each D-Pot also has a switch which is activated by pushing down on the D-Pot.

The channel D-Pot function is selected on the Master Control Panel by the Master Send D-Pot and six

associated buttons The scribble strip above the channel D-Pots shows which f unct ion is currently

selected. A further two buttons (PRE/POST and MUTE) change the function of the D-Pot push switches.

Pan Mode

Select PAN mode and the channel D-Pots become pan controls for the DAW. The D-Pot scribble strip displays ‘Pan’.

Pressing the PAN button on the Master Control Panel a second time (it flashes in this mode) allows you to access a second pan control for stereo channels according to your DAW configuration. The D-Pot scribble strip displays ‘Pan R’ in this mode.

Press the PAN button again to return to normal pan mode.

When panned centrally, a green LED appears just beneath the channel D-Pot.

Holding down ALT displays a pan’s numeric value on the channel scribble strip when you adjust the control.

Channel Mode

Select CHANNEL mode and the channel D-Pots control the analogue gain of the channel strip. The D-Pot scribble strip will display the analogue fader number (eg ‘Fader 12’).

Switching to Analogue Focus mode will swap the analogue gain and the DAW gain between D-Pot and channel fader. Individual channels can be swapped by pressing the channel D-Pot.

Send Mode

Select SEND mode on the Master Control Panel and the D-Pots become level controls for any sends or aux send levels within the DAW.

The Master Send D-Pot selects which of the available sends (A-E or 1-5) is being controlled by the channel D-Pots. The selected send is shown in the display window above the Master Send D-Pot (and on the channel DPot scribble strip).

The channel D-Pot scribble strips show the name of the currently selected send. Turning a channel D-Pot will alter the level of the selected send from that channel. Holding down the ALT button allows you to make fine adjustments to the gain.

See page 5-10 for information on using faders to set Send levels.

1 3

Channel Functions

AWS 900+ SE Owner’s Manual

5-11

Setting Sends Pre/Post Fader

hen working with sends it is useful to be able to flip a send between pre and post fader.

If necessary select the PRE/POST button on the Master Control Panel.

Pushing a channel D-Pot will now switch the selected send on that channel between pre and post.

he green LED below the D-pot lights to show PRE is selected.

To change mode on all channels press and hold the OPT button then press any channel D-Pot . All channels will switch to Pre or Post.

Muting a Send Output

To mute a send output select the MUTE button on the Master Control Panel and push the channel D-Pot. The green LED below the channel D-Pot will light to show the channel is muted.

To mute or un-mute all channels press and hold the OPT button then press any channel D-Pot. All channels will mute or un-mute.

Flipping Send Levels to the Faders

To flip Send levels from the D-Pots to the channel faders, press the Master Send D-Pot marked ‘Push to Flip’).

The channel faders now control the send levels and the fader CUT button will mute the send.

The channel D-Pot controls panning on stereo sends.

In this mode PRE/POST mode is automatically selected for the D-Pot switches, so pushing a D-Pot will toggle the Send pre/post selection on that channel. The green LED below the D-Pot lights to show PRE is selected.

The fader SOLO button will solo the channel, not the send.

Gtr

SOLO CUT

SndA

SEL

SOLO

CUT

DAW Control Guide

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AWS 900+ SE Owner’s Manual

Input, Output and Send Routing

The channel D-Pots can also be used to assign signals to inputs, outputs and aux sends of your DAW mixer:

Viewing Input, Output and Send Routing

The Input, Output or Send routing for all DAW channels can be displayed on the channel scribble strip by holding d

own the INPUT, OUTPUT or SEND button on the Master Control Panel. The Master Send D-Pot can be used to

select which of the available sends you wish to display.

Setting Input, Output and Send Routing

To make or change an Input, Output or Send assignment:

1. Select ASSIGN + INPUT or OUTPUT or SEND on the Master Control Panel.

When using SEND select which send you wish to change from the available send slots using the Master Send D-Pot

2. The D-Pot scribble strip will now read ASGN and the fader scribble strip will indicate the current routing for the DAW channel.

3. Turn a channel D-Pot to scroll through a list of available DAW inputs or outputs (names are derived from the DAW I/O settings not the AWS 900+ SE). The list will appear in the channel scribble strip. The green LED below the D-Pot will flash.

4. Push the D-Pot knob to select the current assignment; the green LED will become solid and a ‘>’ symbol will appear in front of the assigned signal (for example, ‘>Out3-4’).

5. Press the ASSIGN button once more to exit assign mode. This will also commit any changes made that have not been confirmed by pressing the D-Pot.

6. Pressing ESC at any time will abort the assignment process.

Assigning Signals to Multiple Channels

Holding down OPTION then pressing any channel D-Pot will assign that channel’s input to all channels.

Holding down SHIFT + OPTION will assign that channel’s input to all selected channels. Select SEL mode on the Master Control Panel then press the SEL buttons on the channels you wish to route to.

Holding down OPTION and ALT then pressing a channel D-Pot will incrementally route that channel’s input to all channels. For example, selecting input 1 as the input to channel 9, then holding down OPTION and ALT before pressing the channel 9 D-Pot will route input 1 to channel 9, input 2 to channel 10, input 3 to channel 11 and so on across the entire DAW.

Holding down SHIFT + OPTION+ ALT will incrementally route that channel’s input to all selected channels. Select SEL mode on the Master Control Panel then press the SEL buttons on the channels you wish to route to.

Assigning a Channel to Multiple Outputs

Hold the CTRL button and select another output. The currently assigned output will have a ‘>’ symbol before it (for example, ‘>Out3-4’), and other added outputs will have a ‘+’ (for example ‘+Out 5-6’) until you assign it.

In the scribble strip, an ‘@’ symbol indicates that an item is inactive (ie routed but muted). The ‘$’ symbol indicates that more than one output is assigned, and at least one of those is inactive.

Pro Tools HUI Control Guide

AWS 900+ SE Owner’s Manual

5-13

Motion Control Panel

Transport Controls

Dedicated transport controls are provided for direct control over your DAW:

ONLINE* Puts the DAW on line for synchronisation

LOOP* Toggles Loop mode on/off (hold down CTRL for Loop Record mode)

Q PUNCH* Toggles Quickpunch recording status on/off for your DAW

PRE* Toggles the pre-roll function for your DAW. See next page for setting Pre roll time

POST* Toggles the post -roll function for your DAW. See next page for setting Post roll time

*The status of these functions is shown in the transport section of the TFT screen.

IN Captures the current DAW position as the Start edit time.

OUT Captures the current DAW position as the End edit time.

RTZ (Return-To-Zero) Returns the playback cursor to the Session start time

END (Go-To-End) Moves the playback cursor to the end of the Session

REWIND Holding down this button will rewind the DAW (increment depends upon Display mode)

FAST FORWARD Holding down this button will fast forward t he DAW

STOP Stops playback or recording

PLAY Depending on the HUI DAW settings commences playback from the current cursor

position or the last locate point, depending on DAW settings.

RECORD Engages DAW recording for currently armed tracks

Other useful transport modes

Half-speed Playback SHIFT + PLAY

Abort Current Record Pass SHIFT + STOP

Cycle through Record Modes (Normal, Quickpunch, TrackPunch, Loop) CTRL + RECORD

Cycle through Machine Control Masters (accessible via the transport window) CTRL + ONLINE

Link or Unlink the Edit and Timelines SHIFT + Back slash(/)

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27 25 26

DAW Control Guide

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AWS 900+ SE Owner’s Manual

Setting Pre and Post Roll

Hold down ALT and press the PRE or POST button to highlight the left hand numeric field of the pre-roll or post- r

oll time window. The time is displayed on the AWS 900+ SE TFT screen in place of the DAW position. The

selected numeric field will flash. Use the navigation left/right arrow keys to select a different numeric field if required, then enter a value on the numeric keypad or use the Up/Down arrow keys to increase or decrease the selected field. Press ENTER to confirm the time.

he CLR button on the numeric keypad can be use to clear the selected time.

Setting start (In) and end (Out) Times

Hold down ALT and press the IN or OUT button to highlight the left hand numeric field of the start or end time window. The time is displayed on the AWS 900+ SE TFT screen in place of the DAW position. The selected numeric field will flash. Use the navigation left/right arrow keys to select a different numeric field if required, then enter a value on the numeric keypad or use the Up/Down arrow keys to increase or decrease the selected field.

Press ENTER to confirm the time.

The CLR button on the numeric keypad can be use to clear the selected time.

Audition

This function allows the IN, OUT, PRE and POST points to be checked.

Select the AUD button then press either the PRE, IN, OUT, or PO ST button. Press the AUD button again to cancel the function.

When Audition mode is selected the transport section of the TFT screen displays audition in place of the Pre and

Post indicators.

PRE Plays from the pre-roll point to the selection start point

IN Plays from the selection start point for the post-roll time

OUT Plays from the end point less the pre-roll time to the end point

POST Plays from the selection end point for the post-roll time

ALT + OPTION + PRE or IN Plays from the selection start point less the pre-roll time to the selection start

time plus the post-roll time

ALT + OPTION + POST or OUT Plays from the selection end point to the selection end point plus post-roll time.

AWS 900+ SE Footswitch Control

The AWS 900+ SE has two 6.35mm jack footswitch connectors on the rear of the console (see Section 3). These are intended for hands-free access to essential transport functions:

Footswitch Control One:

Either plays or stops the DAW. Holding down SHIFT will abort a recording if in record, or initiate half-speed playback if stopped.

Footswitch Control Two:

Is used to activate or deactivate Record mode. Holding CTRL while pressing the foot switch will cycle through record modes.

Pro Tools HUI Control Guide

AWS 900+ SE Owner’s Manual

5-15

Zoom, Navigation and Selection Modes

The Motion Control panel has a section with four arrow keys and a ZOOM/SEL button that toggles the selection of three available modes: Navigation Edit, Zoom and Select.

Navigation Mode (Neither Zoom or Select lit)

In this mode the arrow keys can be used to select a region or regions in certain DAWs.

The left and right arrows will snap to region/clip boundaries. The up/down arrow keys move the cursor to the track above or below respectively. Holding down the SHIFT modifier button will allow a selection to be extended in any direction. Holding the OPTION button allows the current selection point to be centred on the screen.

Holding CTRL + Up/Down/Left/Right arrow button allows you to change and extend the region/clip selection. Holding SHIFT also includes either the previous or next region.

Zoom Mode (Both Zoom and Select lit)

The arrow keys now become horizontal and vertical zoom controls for the edit/arrange window on your DAW.

Fixed edit/arrange zoom settings can be saved or recalled from the AWS 900+ SE numeric keypad:

To save a zoom setting – press SHIFT + numeric keypad number

To recall a zoom setting – press OPTION + numeric keypad number

Select Mode (Both Zoom and Select Flashing)

Currently this function is not supported in Pro Tools.

Scrolling Within a Window

To page scroll within a currently selected window (ie. Mix/Mixer or Edit/Arrange) press ALT + Left/Right/Up/Down arrow button to scroll one page in either direction. Holding down OPTION and ALT scrolls to the window boundary.

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27 25 26

Shuttle/Scrub Wheel

THE dual-concentric Shuttle/Scrub wheel has a spring-loaded outer ring and a continuously variable inner wheel f

or controlling DAW scrub and shuttle functions and for general timeline/clip navigation

Using the Navigation Mode

When the INNER wheel is rotated, a stream of NUDGE Commands are sent to the DAW according to rotation d

irection and speed. the playhead will step through the session timeline according the current nudge value. If a

clip or MIDI NOTE is selected, its position can be nudged via the wheel.

Using the Shuttle Mode

When the DAW is stopped, turning t he OUTER RIM activates shuttle mode. The outer rim will step through seven fixed shuttle speeds, while the inner controller provides continuously variable control of shuttle speed.

Using Scrub Mode

Select a region to scrub within your DAW. Press the SCRUB button next to the wheel. The inner wheel now becomes an analogue tape machine style scrub wheel for the DAW.

Using the Numeric Keypad to Shuttle

In Pro Tools, the numeric keypad can be used to control shuttle speed and direction. Engage Shuttle Mode via the outer rim. Hold down the CTRL button followed by a number on the numeric keypad that represents the shuttle speed. The +/- buttons control the direction of shuttle.

Exit from Scrub/Shuttle Mode

To exit from shuttle mode press either the STOP or ESC button. To exit from SCRUB MODE mode, deselect the SCRUB Key or press either the STOP or ESC button.

Notes on Scrub and Shuttle Modes (PRO TOOLS HUI ONLY)

The position at which the scrub/shuttle starts is derived from the current select ion or timeline position. Scrub/Shuttle mode can commence from the selection end point by holding down the OPTION button before you grab the shuttle wheel.

Holding down the ALT button will increase the resolution of the scrub/shuttle wheel.

When scrub or shuttle is active, many DAW functions are suspended until you exit from scrub/shuttle mode.

The following functions are available:

• Fader control, solo and cut buttons

• Scrub/Shuttle wheel functions

• Transport controls

• Enter button (to create marker/cue events)

Numeric Keypad

The console’s numeric keypad replicates the numeric keypad on your DAW keyboard. The primary use for this keypad is for saving and recalling Memory Locates and entering data values (please refer to your DAW manual for more details on keypad uses)

Working with Markers/Memory Locations

To Enter a Marker/Cue point – press ENTER.

To Recall a Marker/Cue point – press a number followed by the decimal point button (Numeric Keypad in Classic mode) or a decimal point followed by a number followed by the decimal point button (Numeric Keypad in Transport mode).

DAW Control Guide

5-16

AWS 900+ SE Owner’s Manual

Pro Tools HUI Control Guide

AWS 900+ SE Owner’s Manual

5-17

Plug-In Editor

The AWS 900+ SE comes with a powerful Plug-in Editor located in the console centre section. From here, plugins and hardware inserts can be assigned, and plug-in p

arameters can be edited.

Plug-In Editor Display

The Plug-In Editor uses a high resolution TFT display, four D-pots and four soft buttons to control the parameters of any plug-in. The display is also used to show the position and status of the DAW and to provide access to a range of paged menus. These are described on page 5-19.

The currently selected EDIT channel name is displayed at the top of the screen. Next are the plug-in control displays. Just below this are the t ransport status displays and timecode display.

The bottom section is used for soft key menu selection.

Plug-In Editor Controls

The controls for the display are located just below the screen area. The four D-Pots and associated soft keys map to the corresponding controls on the display. The D-Pots also have push-push select switches which perform various functions.

The display also sh ows information from the DAW at the top of the editor display.

Paging Buttons

The left/right paging buttons page through either available insert slots in INSERT mode, or plug-in parameters in PARAMETER mode (see below).

Selecting a DAW Channel for Plug-In Control

Select EDIT mode on the Master Control Panel then use the channel SEL buttons to chose the channel you wish to edit. The EDIT flag in the channel meter will light. The DAW will highlight the selected channel and current ly selected plug-in. Press ALT to display the plug-in window.

Alternatively select a channel by double clicking on one of the insert points in the Mix window. Note that from V6.4 and above it will be necessary to move channels 9-16, 17-24 into bay 1 channels 1-8.

Note: Bank switching channels leaves the Plug-In Editor with the channel assigned to it.

The channel EDIT tally will show this.

DAW Control Guide

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AWS 900+ SE Owner’s Manual

Plug-In Display Modes

here are three display modes, Insert, Parameter and Assign, which are selected with the ASSIGN and

INSERT/PARAM buttons below the D-Pots.

Viewing Current Inserts (Insert Mode)

Press the INSERT/PARAM button till the INSERT/PARAM box reads INSERT; the plug-in editor is in Insert mode. I

n this mode the four D-Pots represent four insert points on the selected channel. The currently assigned plug-ins

are displayed above each D-Pot. The name of the currently active plug-in will flash.

Additional insert points can be displayed using the paging buttons.

The four D-Pot push switches can be used to select an insert slot for editing or for plug-in assignment - see below.

Assigning a Plug-In or Hardware I/O Insert )

Note: Some DAW applications will not allow assignments to be made during playback, or recording.

To Assign a Plug-in to a Channel Insert Point:

1. Press the ASSIGN soft button to enter assign mode; the on-screen box flashes to confirm this.

2. Press the D-Pot corresponding to the insert slot which you wish to route to a plug-in (use the paging buttons if necessary) then use the D-Pot to scroll through a list of plug-ins and I/O slots. The names t hat are displayed are derived from the DAW.

3. To confirm the assignment either:

a. Press the ASSIGN button a second time. This will exit INSERT mode and switch the Plug-In Editor to

PARAMETER mode for editing of the last selected insert.

b. Press the D-Pot used to make the assignment. This will confirm the assignment and leave you in Assign

mode so you can make further assignments.

Assigning the Same Plug-in to All Channels

Follow steps 1 and 2 above to select a plug-in, then hold down the OPTION button before pressing the D-Pot switch to assign a plug-in to all channels.

Assigning The Same Plug-in to Selected Channels

To assign a plug-in to selected channels select SEL mode on the Master Control Panel then choose the channels you wish to assign to by holding down SHIFT and pressing the channel SEL keys.

Follow steps 1 and 2 above to select a plug-in, then hold down OPTION + SHIFT before pressing the D-Pot switch to assign the plug-in to the selected channels.

Pro Tools HUI Control Guide

Editing Plug -I n Parameters

(Parameter Mode)

Selecting a Plug-In to Edit

n Insert or Assign mode press the plug-in D-Pot for the insert you wish to edit or in Insert mode select Parameter mode by pressing the INSERT/PARAM soft button.

To exit from Parameter mode press the PARAM soft key (if you want to edit a different plug-in) or the ASSIGN soft key (if you want to change assignment).

Changing Plug-in Parameters

Once you have selected a channel and a plug-in for editing, the four D-Pots and their switches control the on screen parameters derived from the DAW plug-in. The names of the currently selected controls and their values are shown above the on-screen D-Pots.

The PAGE UP and PAGE DOWN buttons can be used to access all the plug-in controls.

Hi-Resolution Parameter Display Mode

Holding down the OPTION button while editing a plug-in parameter will show a 9-character version of the parameter value at the top of the Plug-In Editor display.:

Note: The ALT button can be used to open or close the plug-in/pop-up window at any time.

Comparing Your Changes

Pressing the COMPARE button allows you to compare any changes made to plug-in parameters with the values stored before editing.

As soon as you change any parameter the COMPARE box will turn yellow.

Pressing the COMPARE button toggles between the settings when you starting editing parameters and the current settings.

Note that the plug-in window must be opened before this function becomes available.

Bypassing Plug-ins

The BYPASS button allows a plug-In to be toggled in/out of the signal path in PARAM mode. In INSERT mode, individual plug-ins can be bypassed by holding down the BYPASS button and pushing the D-Pot that corresponds to the insert you want to bypass.

The channel SEL switch can be used to bypass all the plug-ins on a channel - see page 5-8.

D-Pot Sensitivity

The D-Pots for the Plug-in Editor can be set to one of two modes: F i xed or Velocity-sensitive. In Fixed mode, turning a knob will range through the whole list of available parameters. This makes it very quick to search through long lists. Holding down the ALT button will enable a finer resolution scroll.

In Velocity-sensitive mode the speed of scrolling is dependent upon how quickly you turn the D-Pot. To toggle between the two modes press the F5 button in the Fkys menu.

AWS 900+ SE Owner’s Manual

5-19

Timecode/Bars & Beats/Samples Display

The on-screen time readout can be assigned to display either Timecode (SMPTE/EBU), Feet / F rames, Bars/Beats or samples. This display will follow the setting selection made within your DAW. Please refer to your DAW manual for further details.

DAW Status Display

o the left of the timecode display is the DAW st at us display. This shows the following flags:

Solo DAW has a Solo active Loop DAW has Loop enabled QPunch DAW has QuickPunch selected Pre DAW transport has pre-roll enabled Post DAW transport has post-roll enabled Solo DAW has a Solo active Audition DAW is in Audition mode. This is displayed in place of the Pre and Post flags

Soft Key Display

The Plug-In Editor includes an 8x8 matrix of soft buttons which map to the 16 boxes at the bottom of the plug-in display:

The top row (buttons 1-8) allow selection of the labelled function. Once pressed, a sub-menu will appear for the second row of soft key buttons (9-16). The menus are ordered as follows:

1. Automation Enables

Automation Enable modes (AuEn) globally engage or disengage automation for the following items: Faders, Pans, Plug-Ins, Mutes (cuts), Sends and Send Muting. See page 5-22 for more details.

DAW Control Guide

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AWS 900+ SE Owner’s Manual

Pro Tools HUI Control Guide

AWS 900+ SE Owner’s Manual

5-21

2. Automation Modes

utomation Modes (AuMo) sets the update mode for each channel or group of channels. See page 5-22 for more

details.

3. Edit Tools Menu

Edit Tools (EdTs) displays a list of available tools used by your DAW system. For example, in Pro Tools you can select the Zoom, Trim, Select, Grabber, Smart Tool, Scrub and Pencil tools.

4. Edit Modes Menu

Edit Modes(EdMo) displays a list of available edit modes used by your DAW system. Within Pro tools® you can select Shuffle, Slip, Spot and Grid modes.

5. Status/Group Menu

The Status/Group (StGr) menu contains several useful functions including:

Auto – Shows the Automation status of all channel faders on the channel fader scribble strips.

Monitor – Shows the monitor status of all 24 focused channels on the fader scribble strip. The labelling is as follows:

Auto Auto input mode

Inpt Input mode only

Aux Auxiliary input channel

MIDI MIDI channel

Mstr Master Fader

Phase – Not implemented

Group – Shows the grouping status of all 24 focused channels on the console.

Create – To create a fader group for your DAW, select SEL mode on the Master Control Panel then hold down the SHIFT button and press the SEL buttons on any channels you wish to group. Finally press the CREATE button

and a new group will be created.

Suspend – Fader/Mix groups can be suspended at any time by selecting SUSPEND; they are now disengaged from their respective grouping arrangements. Pressing SUSPEND a second time re-enables the groups.

DAW Control Guide

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AWS 900+ SE Owner’s Manual

6. Function Keys

The F-Keys (Fkys) menu gives acess to the DAW function keys.The use of the function (F) keys can vary between DAW a

pplications. A standard configuration for Pro Tools

s :

F1 Peak Hold Clear for the AWS 900+ SE channel meters

F5 Cycles Fixed or Velocity-sensitive modes for the D-Pots

F8 Escape

7. EDIT Menu

The Edit (Edit) menu provides quick access to frequently used editing functions including Capture, Separate, Cut, Copy, Paste and Delete.

8. SSL Menu

This menu is used to access additional optional AWS 900+ SE features such as Console Setup, AWSomation and Total Recall. Information regarding these features will be found in the appropriate section of this manual.

Console Setup Menu is detailed in section 4 of this manual.

Total Recall is detailed in section 6 of this manual.

AWSomation is detailed in section 7 of this manual.

Pro Tools HUI Control Guide

Working with Automation

The AWS 900+ SE’s touch sensitive moving faders can be used to write automation for the DAW fader. Most automation functions can be enabled from the soft key matrix below the console’s display screen. Within this are menus for Automation Enables, Automation Modes, Grouping and Editing functions.

Note: Automation data can usually only be written when the DAW is in Play, Half-Speed Play or Record.

Automation Enables

Automation Enable modes (AuEn) globally engage or disengage automation for the following items: Faders, Pans, Pl u g -I n s, Mutes (cuts), Sends and Send Muting. Holding down the OPTION button then pressing any of

the sub menu buttons will toggle automation on or off for all controls.

The Pan automation enable includes both Channel and Send Pan.

Automation Modes

There are several Automation Modes (Au Mo) available including: Write, Touch, Latch, Trim, Read and Off. To change automation mode on a channel select an automation mode from the soft key menu and press the auto button on a channel fader. Holding down OPTION then selecting an automation mode from below the TFT screen will change automation modes on all channels. Changes within the DAW will be reflected on the console.

Refer to your DAW manual for more information on its specific automation features.

Automation Status Display

Pressing and holding the auto button on a channel fader will display the current

automation mode for that channel in the channel scribble strip display. To display the automation mode on all channels select the Status Group (StGr) soft menu, and press Auto.

The automation LED indications are as follows:

No LED Automation off

Green LED Read automation mode

Red Flashing LED DAW is ready to write automation in write, touch or latch modes.

Red solid LED Writing automation data

Red and Green LEDs Trim automation mode

AWS 900+ SE Owner’s Manual

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Suspending Automation

To suspend all automation writing and playback for the entire project/session, press the

SUSPEND AUTO button. The button will flash red to indicate that the suspend function is active.

Writing Automation (Write to Start, End or All)

n some DAW applications you can write automation data to the start, end or whole part of a track/selection in any

automation mode. To perform these functions from the AWS 900+ use the following:

CTRL + RTZ – Will write automation data from the current position to the start of the track/selection.

CTRL + END – Will write automation data from the current position to the end of the track/selection.

CTRL + SHIFT + (END or RTZ) – Will write automation data from the start to the end of the track/selection.

Automating Switches (eg. Cuts)

As the console’s CUT buttons have no touch sense, automation will start being written when the button is first pressed. In Touch mode it will return to the underlying mix pass as soon as the DAW timeline reaches the next switch change.Thus pressing and holding a CUT button will write data for as long as the button is held, overwriting any underlying automation. To continue to write data until you stop select Write or Latch mode.

This also applies to plug-in buttons

Automating Pans and Sends

As the channel D-Pots have no touch sense, automation data starts being written as soon as the control is moved. In Touch mode the system will stop writing automation and return to the previous level when you stop moving the control.

Your DAW may have a Touch-Timeout period which provides a time limit that allows for a certain time to continue writing automation data, after which the value of the parameter returns to the value of the underlying automation pass.

Alternatively to continue to write data until you stop select Write or Latch mode.

Automating Plug-Ins

Plug-in parameters can be automated just like other D-Pots and buttons. The only difference is that some DAW applications require the controls to be armed using the on-screen menus within your DAW. Choose the automation button in the plug-in window and enable the plug-in controls to be automated.

When automating a plug-in parameter, there is no touch sense information for the D-Pot or push-push switch so in Touch mode data will be written for as long as the control is being moved or pressed.

Using Write or Latch mode for automating plug-ins will continue writing automation data until the DAW stops.

Automation Indication for Plug-In Parameters

If a plug-in parameter is enabled for automation the red ‘LED’ below the on-screen D-Pot will flash. When writing automation data, the ‘LED’ will light continuously.

Refer to your DAW manual for more information on all aspects of its automation system

USPEND

AUTO

DAW Control Guide

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AWS 900+ SE Owner’s Manual

MCU based DAW Control Guide

Mackie Control (MCU) Emulation

The AWS 900+ SE expands available DAW control options by emulating the Mackie Control MIDI protocol as an alternative to the HUI protocol emulation. The AWS software includes dedicated front panel function key mappings f

or Logic, Nuendo, Sonar and Digital Performer.

The Mackie Control Protocol originates from the Mackie Control Universal MIDI controller and the companion eight fader extender unit. The main control unit is functionally very similar to a HUI unit supporting 8 channel faders and associated controls, a master fader, transport controls and jog wheel, cursor keys together with dedicated function key groups for workstation control. Fader resolution is 10bit (1024 steps), identical to the HUI implementation. The Mackie Control Unit is supplied with overlay templates for different DAW packages, which label the various function key groups specifically for each supported DAW. In addition the default Logic grouping is supported by a number of workstations, which do not have dedicated overlays. These include among others Live, Sequoia, Final Cut Studio and Soundtrack Pro.

Mackie Control Emulation Advantages

• Supported by a large number of Workstation manufacturers including Apple, Sony and Steinberg.

• Plug-Ins and Virtual Instruments are controlled from the Channel D-Pots and can be flipped onto the Faders, a feature previously reserved for Pro Tools and Digidesign proprietary control surface solutions.

• Channel meters use far less MIDI bandwidth.

• 6 Character Labels for Track/Channel Names and parameter information.

• Master Fader control.

Implementation

In Mackie Control mode the AWS 900+ SE emulates a Mackie Control Master Console plus two Mackie Extender sections. For all supported workstations, the AWS should be configured in the relevant Cont rol Surface set up menu, as two extenders plus a main Mackie Control unit. The set up layout should assign the extenders as channel 9-24 and a Mackie Control unit as channels 1-8. Plug-Ins and Instruments will have their parameters assigned left justified on to the AWS channel D-Pots.

The console Master section DAW control keys map to the workstation functions according to the active control template. This is selected from SSL > MISC > SETUP menu.

Four dedicated DAW templates are supported, Logic, Nuendo (also used for Cubase), Sonar and Digital Performer. The Logic template can also be used as a generic interface for Live, Final Cut Pro and other software t hat supports the standard Mackie Control surface function key grouping. The AWS 900+ SE includes the additional key caps to support the four function templates. Older 900 users will need to order the key cap set from their local SSL distributor. The SE software also allows simultaneous control of two independent Digital Audio Workstations. They can be assigned in the SSL > MISC > SETUP menu.

The active DAW is selected on the SSL > DAW menu (shown above). Note that DAW layer 1 uses ipMIDI ports 1-3 and DAW layer 2 uses ipMIDI ports 4-6.

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The majority of DAW functions are controlled via dedicated AWS front panel switches with less reliance on the 8x8 soft key matrix located beneath the TFT screen than with the HUI protocol. All Plug-In editing is via the channel DP

ots. The four encoders together with the six switches below the centre section monitor screen, are not used with the Mackie Control protocol. On the channel fader strips, the Auto key and associated status LEDs are also not implemented by the protocol. All other controls, the D-Pot and associated encoder switch, DAW channel Solo and Cut plus the Select and Ready functions, are fully supported. Only mono metering information is returned from the workstation. On stereo channels the maximum value of the left or right channel is displayed. The master fader is a

lso included in the DAW layer when a Mackie Control template is active.

The ten keys located above master transport keys provide different related motion control functions according to the active template. When required tallies for these keys will be displayed on the TFT display in the area next to the DAW timeline counter.

The Jog Wheel together wit h the Scrub function key, and the Cursor keys and Cursor mode swit ch are active in all templates. The outer Jog Wheel is not supported, neither is the numeric keypad. However the 1-8 keys replicate F1 - F8 Function keys in certain templates.

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MCU based DAW Control Guide

DAW Control Function Key Overview

As far as possible all function key templates use key groupings and layouts which follow the original Mackie Control surface groupings to simplify moving from one DAW platform to another.

Channel D-Pot Functions and Display options. The Encoder switch flips D-Pot Parameters on to the channel faders. The encoder itself is not used in any of the Mackie Control templates. CHANNEL has the same functions as in the HUI Mode and assigns either the Console or DAW channel level control to the D-POT according to the state of the Master Console Focus control.

As with the HUI protocol, the RDY and SEL keys determine the function of the Channel strip SEL key. Default is the SEL(ECT) function, RDY accesses DAW track arming from the channel strip via the SEL key. The centre key is used as a discrete function key in some of the templates and corresponds to the EDIT/GLOBAL key located next to the FLIP key on a Mackie Control Unit.

Channel and Control surface banking – identical to the HUI Mode.

Project/Menu Keys – Similar style functions to HUI mode but template specific.

Modifier keys – Layout and Name template specific.

Dedicated Function(s) – Template specif ic.

Push to Flip

CHANNEL

RDY

CHANNEL

AUX2

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5-27

The Logic Template

The AWS emulates a Mackie Control plus two Mackie XT fader expanders. The Logic Control Surface set up should be configured as shown below in the Logic Preferences menu.

AWS Logic Control Key Layout

Major changes compared to the HUI front panel are Automation modes replacing the Screen display select keys and the inclusion of the MARKER and NUDGE functions. GLOBAL uses the 8x8 matrix keys to select the different view options. CHANNEL is unchanged and assigns the AWS channel gain element to the D-Pot. The Encoder switch is used to ‘flip’ parameters on to the fader but the encoder itself has no function. The Display indicates D-Pot mode with a two-character label. Plug Ins are controlled from the channel D-Pots so there is no longer an ‘EDIT’ select mode for the channel SEL key.

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MCU based DAW Control Guide

AWS Transport Function Key Layout

Only five of the ten keys above the Motion controls are assigned. These have on screen tallies in the status area of the TFT display.

Full operational documentation for using Logic with Mackie Control and Extender units can be found in Logic Pro 8 Dedicated Control Surface Support (Manual) which can be downloaded from

http://www.apple.com/support/manuals/logicpro/.

The AWS Logic Control screen

VIEW is selected automatically by the GLOBAL key to access the eight Global View select keys. It can also be selected manually if required. There are no tallies for the selected VIEW. VIEW is an AWS function and not part of the MCU protocol.

Fkys are the eight functions keys as on the HUI interface. These are also permanently mapped to the numeric keypad, which is not supported in the Mackie Control protocol.

A ‘ Rude’ Solo tally is displayed in the on-screen Status area. This corresponds to the front panel LED on a MCU.

VIEW

SSL

Fkys

00:00:00:00

CYCLE SOLOREPLACE CLICKDROP

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5-29

Standard Mackie Control Front Panel Layout

DAW Control Guide

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AWS 900+ SE Owner’s Manual

Solid State Logic AWS 900+ SE Owner's Manual

Specifications and Main Features

Frequently Asked Questions

User Manual