Solid State Logic AWS 924, AWS 948 Owner's Manual

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AWS 924-948

WNER’S MANUAL

olid State Logic

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

3700 Wilshire Blvd, Suite 720, Los Angeles, CA 90010, USA • +1 (1) 213 249 9229

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

82BA1M01B

Solid State Logic, SSL, AWS 900, AWS 900+ SE, AWS 924, AWS 948

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 (1A) October 2010

Added console dimensions to Appendices (1A) November 2010

UL clarification of power connection, specifications and termination (1B) January 2011

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

Introduction

IMPORTANT INFORMATION

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. 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 equipped with a headphone socket – excessive sound pressure from earphones and headphones can cause hearing loss.

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

Caution

The AWS 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 924-948 Owner’s Manual Page III

Introduction

Page IV AWS 924-948 Owner’s Manual

Power Safety

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

• An external disconnect device is required for this apparatus. The appliance coupler is a suitable disconnect device.

• The appliance coupler shall remain readily operable.

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

• The power cord must be earthed and precautions should be made so that the grounding is not defeated.

• Do not defeat the safety purpose of the polarised or grounding-type plugs fitted to the power cords. 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.

• 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 supplies). 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).

• An external over-current protection device is required to protect the wiring to this apparatus which must be installed according to current wiring regulations. 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.

The current requirement for this apparatus can be found in Appendix A of this manual.

• 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.

• 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.

Introduction

Caution

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

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.

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.

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 924-948 Owner’s Manual Page V

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Page VI AWS 924-948 Owner’s Manual

Introduction

MANUAL INDEX

Ø switch 3-6 0

dB Function key 3-15 1 / 2 switches 3-6 10db Function key 3-27 48V switch 3-6 80Hz Function Key 3-18 85dB Function Key 3-20

A-FADA Analogue Automation 4-5 A2B Function Key 3-18 About tab (Remote) 5-15 AC Function Key 3-19 AFL Function Key 3-20 Air Conditioning 1-1 AL Function Key 3-19 ALF Function Key 3-19 ALL Function key 3-3, 3-15 ALS Function Key 3-19 ALT Function Key 3-20 ALT/EFX SEL 3-9, 3-10 Anl Function key 3-27 AR Function Key 3-19 ARS Function Key 3-19 Attaching the legs 1-3 Audio Connections 1-5 Auto Scan (TR) 6-5 AUTO-M 3-4 Automation (HUI) 4-29 Automation (console) 7-1 AutoTakeover (Automation) 7-14 AWS Remote 5-1

balance 3-11 BASS Function Key 3-18 Bass Management 3-18 BMA Function Key 3-18 BMB Function Key 3-18 BMN Function Key 3-18 bus inject 3-23

Cable Ducting 1-1 CAL Function Key 3-19 Centre Section 3-15 Chan (TR) 6-5 Channel Banking 4-7 Channel Display 3-12 C

hannel Fader (HUI) 4-11 Channel Modes (948) 2b-3, 3-3 channel output 3-10 Channel Selection 3-12 Channels tab (Remote) 5-11 Chinagraph 3-12 CHOP EFX 3-4, 3-9 CHOP PRE/EFX 3-9, 3-10 CmFb (TR) 6-5 Communications 3-25 Compressor 3-6, 3-21, 3-22 Connectors A-3 Console Setup Menu 3-28 CS (Automation) 7-14 Cubase 4-36 CUE A / B 3-9 CUE F-CH 3-4, 3-11 CUE ST pan pot 3-4, 3-11 Cue 3-9, 3-23 CUT (channel) 3-12 CUT (monitoring) 3-16 CUT (DAW) 4-12

D-Type A-3, A-5 DAW Connection 1-7 DAW Controller 4-1 Daw Function key 3-27 DAW Layers 4-3 DAW1 / 2 Function keys 4-3 DF 1 / 2 (A-FADA) Function keys 4-5 Digital Displays 4-13 Digital Performer 4-42 DIM switch 3-16 DIN 5-Pin A-3 Direct Output 3-10 DIRECT PRE/EFX 3-9, 3-10 Downloads 5-15 DOWNMIX 3-16 Dynamics 3-6, 3-22 DynB (TR) 6-5

Introduction

AWS 924-948 Owner’s Manual Page VII

Introduction

Page VIII AWS 924-948 Owner’s Manual

layers (DAW) 4-3 LF0 Function Key 3-18 LFG Function Key 3-19 LINE pot 3-6 L

NSL Function key 3-15 Logic 4-34 L

ogic Handshaking 4-3 LØ switch 3-6 LRA Function Key 3-17 LS SELECT buttons 3-16

Maintenance Ai Master Control Panel (DAW) 4-8, 4-33 Master Fader 3-21 MCU 4-32 Metering (Centre Section) 3-27 meters (channel) 3-6 METERS Function keys 3-27 MIC pot 3-6 MIDI SysEx 5-1, 7-20 MIDI 1-7, 1-20, A-9 MISC Function key 4-3, 4-5, 7-15 MISC LEVELS switches 3-16 Mix bus 3-11, 3-21 Mix Enabled (Automation) 7-4 Mixes tab (Remote) 5-7, 7-5 Modifier Buttons (HUI) 4-10 Moff (Automation) 7-13 MOM Function Key 3-20 MON SRC buttons 3-16 Monitor Calibration 3-19 MONITOR LEVEL pot 3-16 MONITOR MUTE/SOLO buttons 3-16 Monitor Options Function Keys 3-17 Monitoring 3-16 Motion Control Panel 4-17

Navigation Mode (HUI) 4-20 network 1-8 Nuendo 4-37

OP switch 3-6 OSC ON 3-19, 3-26 Oscillator 3-26

EFX 3-9, 3-10 EFXC Function key 3-9, 3-15 EQ IN switch 3-7 Equalizer 3-7 E

thernet 1-8 Execute (Automation) 7-7 E

XT A / B 3-17 EXT T/B button 3-25 External Source Selectors 3-17 External sources 5-13 Externals tab (Remote) 5-13

Fader Links 7-16 fader 3-13, 3-21 FAQ’s 5-15 faults A-13 Filter 3-7 FLIP switch 3-6 Focus Modes 3-1, 4-2 Foldback 3-24 FSM 7-10, 7-12 Function Keys 3-15 FX busses 3-9, 3-23 FX Returns 3-24

G-EQ switch 3-7 Grounding 1-1

headphones 3-24 HLD Function key 3-27 HPF pot 3-7 HUI 4-9

Input configuration 3-6 INS Function Key 3-17 insert (channel) 3-8 INST switch 3-6 Installation 1-1 IP address 1-19 IP switch 3-6 ipMIDI 1-7 ISO Function Key 3-20

Join (Automation) 7-8

Introduction

AWS 924-948 Owner’s Manual Page IX

PAD switch 3-6 PAN switch 3-10 pan 3-11 Patchbay 1-5 P

FL Function Key 3-20 PFM Function Key 3-17 p

hantom power 3-6 PHONES buttons 3-16 PINK ON button 3-19, 3-26 PK Function key 3-27 Plug-In Editor (HUI) 4-21 POST switch 3-9 Power Supply Indicators 3-15 PRE switch 3-10 Pre-Installation Requirements 1-1 Projects 5-1, 5-5 Protection (Automation) 7-10

REC/MIX LED 3-9 Record bus 3-11, 3-21 RED LIGHT 3-25 Registration 5-15 Remote Browser 5-1 Remote 1-7 Removing the trim 1-3 RETURN switch 3-3 Revise (Automation) 7-8 RØ switch 3-6

S-CUE 3-4 Scan (TR) 6-5 screen 3-2 Scribble Strip 3-12, 4-13 SEL button 3-12, 4-14 Service & Warranty A-11 SET Function key 3-3, 3-15 setup menu 3-28 Shuttle/Scrub Wheel 4-20 SIF Function Key 3-20 Signal Processing Order 3-8 SLATE button 3-25 SLNK Function key 7-19 Snap (Automation) 7-15 Snap Function Key 4-5 SOLO (monitoring) 3-16 SOLO CLEAR button 3-16 SOLO Configuration 3-20 Solo switch 3-12, 4-13 Sonar 4-39

Specifications A-1, A-7 SRA Function Key 3-17 ST Function key 3-3, 3-15 stereo cue 3-9, 3-23 stereo FX Returns 3-24 S

tRt (TR) 6-5 Studio Integration 1-5 S

UM Function Key 3-17 Support 5-15 SysEx 5-1, 7-20

talkback 3-25 TB ALL 3-25 TB to Foldback pot 3-25 TFT screen 3-2 Thermal Considerations 1-1 Titles 5-1 TLock (Automation) 7-13 Total Recall 6-1 Total Recall tab (Remote) 5-9, 6-11 TR (Total Recall) 5-9, 6-1 track busses 3-10, 3-23 Trim (Automation) 7-12 TRK Function key 3-3, 3-15 Troubleshooting A-13 Two DAW Layers 4-3

Unpacking The Console 1-3 Utility Buttons (HUI) 4-9

V-Pots 3-13, 4-8, 4-13, 4-15 VU Function key 3-27

Warranty A-11 width (pan) 3-11 Window Buttons (HUI) 4-9

Zoom Mode (HUI) 4-19

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Introduction

AWS 924-948 Owner’s Manual Page XI

MANUAL CONTENTS

Important Information III

Graphic Symbols III General Safety III Caution III Power Safety IV Caution V FCC Notice V Disposal of WEEE by Users in the European Union V Standards Conformance V

Manual Index VII

Manual Contents XI

Reading this Manual XIX

Introduction to the sections XIX Manual Conventions XIX

Contacting Solid State Logic XIX

Introduction to the AWS XIX

Key Features XX

AWS 924 XX AWS 948 XX

SECTION 1: INSTALLATION

Section Contents 1-iii

Pre-Installation Requirements 1-1

Console Control Surface 1-1

Power Connections 1-1 Service Access 1-1 Thermal Considerations 1-1

Air Conditioning 1-1 Cable Ducting 1-1 Grounding 1-1 Unpacking The Console 1-3 Attaching the legs 1-3 Removing the trim 1-3

Front Buffer 1-3 End Trim 1-3 Top Trim 1-3

Introduction

Studio Integration 1-5

udio Connections 1-5

onnecting a Patchbay 1-5

WS 924 Patchbay layout Example: 1-5

atchbay Guidelines 1-6

nstrument Inputs (AWS 924 Only) 1-6 Mic Inputs 1-6 AWS948 Patchbay layout Example: 1-6

DAW Connection 1-7

Overview 1-7 Installing the ipMIDI driver and AWS Remote 1-7

Software Installation (Macintosh) 1-7 Software Installation (PC) 1-8

Make and configure the network connection 1-8 Direct Network Connection (Macintosh) 1-8 Direct Network connection (PC) 1-11 Enabling ipMIDI on your AWS 1-12

Finding the console on the AWS Remote application: 1-12

Setting your workstation(s) to communicate via ipMIDI 1-13 Pro Tools 8 1-14 Logic Pro 9 1-15

Preferences/Control Surfaces Setup menu: 1-16

Network trouble shooting: 1-17 Larger networks: 1-18 Assigning the AWS IP Address: 1-19

Using DHCP 1-19 Changing the static IP address 1-19

Using Physical MIDI Ports to Connect your DAW 1-20

SECTION 2A: AWS 924 TUTORIAL

Studio Configurations 2a-1

Smaller systems 2a-1 Larger Systems 2a-1

Focus Modes 2a-2

Channel Strip 2a-3

Input configuration 2a-3 Signal Processing 2a-3

Dynamics 2a-3 Filter and EQ 2a-3 Insert Point 2a-3

Routing 2a-3

Cue, FX and EFX Sends 2a-3 Bus Routing 2a-3

Panning, Width and Balance 2a-4 Level, cuts and solos 2a-4

Page XII AWS 924-948 Owner’s Manual

Introduction

AWS 924-948 Owner’s Manual Page XIII

Centre Section 2a-5

djusting the Mix and Record busses 2a-5

reating a Monitor Mix 2a-5 Creating Foldback Mixes 2a-5 Using the FX Returns 2a-5 Using Talkback 2a-5 ‘In-line’ Recording 2a-5

SECTION 2B: AWS 948 TUTORIAL

Focus Modes 2b-1

Channel Modes 2b-3

Basic Tracking Configuration 2b-4

Mono Configuration 2b-4 Stereo Configuration 2b-4

Analogue-style In-Line Tracking Configuration 2b-5

Band Tracking Mode 2b-5 Overdub/Playback Tracking Mode 2b-5

Mixing Configurations 2b-6

Basic Stereo Mixdown 2b-6 Additional Send Mixing 2b-6 Additional Return Mixing 2b-7

Mode Selection 2b-8

Channel Strip 2b-9

Input configuration 2b-9 Signal Processing 2b-9

Dynamics 2b-9 Filter and EQ 2b-9 Inserts 2b-9

Routing 2b-9

Cue and FX Sends 2b-9 Bus Routing 2b-10

Panning, Width and Balance 2b-10 Channel level, cut and solo 2b-10

Centre Section 2b-11

Adjusting the Mix and Record busses 2b-11 Creating a Monitor Mix 2b-11 Creating Foldback Mixes 2b-11 Using the FX Returns 2b-11 Using Talkback 2b-11

Introduction

SECTION 3: ANALOGUE OPERATIONS

Section Contents 3-iii

Introduction 3-1

Focus Modes 3-1 The TFT Screen 3-2

Channel Modes (948 only) 3-3

Channel Configuration (AWS 948 only) 3-4

In-line Mix 3-4 In-line Track 3-4

Channel Strip 3-5

Overview 3-5 Input configuration 3-6 Channel Meters 3-6 Dynamics 3-6 Filter 3-7 Equalizer 3-7 Insert Point 3-8 Signal Processing Order 3-8 Cue, FX and EFX Sends 3-9 Direct Output 3-10

Direct Outputs and EFX: 3-10

Track Bus Routing 3-10

Track Busses and EFX: 3-10

REC and MIX Bus Routing 3-11 Panning, Width and Balance 3-11 Scribble Strips 3-12

Channel Display 3-12 Chinagraph Scribble Strip 3-12

Channel Selection 3-12 Cut and Solo Switches 3-12 Level Control 3-13

Centre Section 3-15

Introduction 3-15

Power Supply Indicators 3-15

Function Keys 3-15 Monitoring 3-16

MON MODE buttons [8] 3-16 Monitor Configurations 3-17 External Source Selectors 3-17 Monitor Options 3-17 Monitor Insert 3-18 Bass Management 3-18 Monitor Level Calibration 3-19 Monitor Level Display and Calibrated listening level 3-20

SOLO Configuration 3-20

Page XIV AWS 924-948 Owner’s Manual

Introduction

AWS 924-948 Owner’s Manual Page XV

Mix and Rec Bus Controls 3-21

Adjusting a master level 3-21 Assigning Centre Section Dynamics 3-21 Assigning the Stereo Compressor 3-21 Activating bus inserts 3-21

Dynamics Operation 3-22

Compressor/Limiter Section 3-22 Gate/Expander Section 3-22

Track Bus Master Controls 3-23 Cue/FX Send Master Controls 3-23

Cue and FX bus injection 3-23

Foldback Headphone Outputs 3-24 Stereo FX Returns 3-24 Communications 3-25

Communications Setup Options 3-26

Oscillator 3-26 Centre Section Metering 3-27 Console Setup Menu 3-28

Automation 3-28 Talkback 3-29 Monitor section 3-29 Desk Setup 3-29 DAW setup 3-30 Desk settings 3-30

SECTION 4: DAW CONTROL

Section Contents 4-iii

Introduction 4-1

A-FADA 4-1 DAW Controller Features Summary 4-1

Focus Modes 4-2

Configuring DAW Layers 4-3

DAW Layers 4-3 Communication with your DAW 4-4

Logic Handshaking 4-4

A-FADA Analogue Automation 4-5

Snap 4-5 Setup Guidelines 4-6

HUI and MCU common Features 4-7

V-Pots 4-7 The Master Control Panel 4-8

Channel Banking Controls 4-8

Pro Tools HUI Control Guide 4-9

DAW Window Buttons 4-9 DAW Utility Buttons 4-9 Modifier Buttons 4-9

Introduction

The Default Button 4-10

Resetting Pans 4-10 Resetting Faders 4-10 Resetting Sends 4-10 Resetting Plug-ins 4-10

Channel Functions 4-11

DAW Meters 4-11 Status Indicators 4-11 Multi-channel Metering (TDM Systems Only) 4-11 Channel Fader 4-11 Fader Grouping 4-11

Channel Solo and Cut Tile 4-12

Solo Isolate 4-12

Channel SEL Button – Track Arming/Edit/Select 4-13 Record Ready Mode 4-13

Record Safe 4-13

Working with the Channel V-pots 4-14

Setting Sends Pre/Post Fader 4-15 Muting a Send Output 4-15 Flipping Send Levels to the Faders 4-15

Input, Output and Send Routing 4-16

Viewing Input, Output and Send Routing 4-16 Setting Input, Output and Send Routing 4-16 Assigning Signals to Multiple Channels 4-16 Assigning a Channel to Multiple Outputs 4-16

Motion Control Panel 4-17

Transport Controls 4-17 Other useful transport modes 4-17 AWS Footswitch Control 4-18

Zoom, Navigation and Selection Modes 4-19

Navigation Mode (Neither Zoom nor Select lit) 4-19 Zoom Mode (Both Zoom and Select lit) 4-19 Select Mode (Both Zoom and Select Flashing) 4-19 Scrolling Within a Window 4-19

Shuttle/Scrub Wheel 4-20

Numeric Keypad 4-20

Working with Markers/Memory Locations 4-20

HUI Plug-in Control 4-21

Plug-In Editor 4-21

Plug-In Editor Display 4-21 Plug-In Editor Controls 4-21 Paging Buttons 4-21 Selecting DAW Channels to Edit 4-21

Plug-In Display Modes 4-22

Viewing Current Inserts (Insert Mode) 4-22 Assigning a Plug-In or Hardware I/O (Insert Mode) 4-22

Editing Plug-In Parameters (Parameter Mode) 4-23

Selecting a Plug-In to Edit 4-23 Changing Plug-in Parameters 4-23 Hi-Resolution Parameter Display Mode 4-23 Comparing Your Changes 4-23 Bypassing Plug-ins 4-23 V-pot Sensitivity 4-23

Page XVI AWS 924-948 Owner’s Manual

Introduction

AWS 924-948 Owner’s Manual Page XVII

Additional HUI Displays 4-25

imecode/Bars & Beats/Samples Display 4-25

AW Status Display 4-25

Soft Key Display 4-25

. Automation Enables 4-25

. Automation Modes 4-25

3. Edit Tools Menu 4-26

4. Edit Modes Menu 4-26

5. Status/Group Menu 4-26

6. Function Keys 4-27

7. EDIT Menu 4-27

8. SSL Menu 4-27

HUI Automation 4-29

Automation Enables 4-29 Automation Modes 4-29 Automation Status Display 4-29 Suspending Automation 4-30 Writing Automation (Write to Start, End or All) 4-30 Automating Switches (eg. Cuts) 4-30 Automating Pans and Sends 4-30 Automating Plug-Ins 4-30 Automation Indication for Plug-In Parameters 4-30

MCU (Mackie Control) Emulation 4-31

Mackie Control Emulation Advantages 4-31 Implementation 4-31 DAW Control Function Key Overview 4-33 The Logic Template 4-34

Logic Console Layout 4-34 Transport Function Key Layout 4-35 Logic Control screen 4-35

Nuendo/Cubase Template 4-36

Nuendo Console Layout 4-37 Nuendo Control screen 4-38

The Sonar Template 4-39

Sonar Console Layout 4-40 Sonar Control screen 4-41

Digital Performer Template 4-42

Digital Performer Console Layout 4-42 Digital Performer Control screen 4-43

SECTION 5: PROJECTS AND THE REMOTE BROWSER

Section Contents 5-iii

Introduction 5-1

Working with Projects and Titles 5-1 AWS Remote 5-1 MIDI SysEx data 5-1

Connecting the Remote to the Console 5-3

Introduction

The Projects Tab 5-5

opying Titles, Total Recall and Mix data between Projects 5-6

enaming Projects, Titles, Mixes or Total Recall Setups 5-6 Backing up a Project 5-6 Restoring a Project 5-6

The Mixes Tab 5-7

The Total Recall Tab 5-9

The Channels Tab 5-11

The Externals Tab 5-13

The About Tab 5-15

SECTION 6: TOTAL RECALL

Section Contents 6-iii

Overview 6-1 Accessing Total Recall 6-1

Selecting TR Setups 6-3

Changing the selected setup 6-3

Matching the Console to the TR 6-5

Display Overview 6-5

Correcting controls 6-5 Auto Scan 6-5

The Channel Display 6-6

Setting soft switches 6-6 Copying and Swapping settings between channels 6-6

Centre section displays 6-7

Compressor and Foldback 6-7 Dynamics and Bus Masters 6-7 Stereo Returns 6-7

Additional TR Functions 6-9

Storing setups 6-9 Deleting Setups 6-9 Restoring Legacy MIDI Setups from a Mac or PC 6-9

Total Recall via Logictivity 6-11

Page XVIII AWS 924-948 Owner’s Manual

Introduction

AWS 924-948 Owner’s Manual Page XIX

SECTION 7: AUTOMATION

Section Contents 7-iii

Overview 7-1

Key features 7-1 Quick Guides 7-1

A-FADA Analogue Automation 7-1

Working with Projects and Titles 7-2

Automation Management via the Remote 7-3

Operation 7-4

Activating the Automation System 7-4 List Mix Menu 7-4

Changing the selected Mix Pass 7-4 Deleting Mix Passes 7-4

Creating A New Mix Pass 7-5

Join and Revise 7-8

Discard 7-8 Updating a Mix Pass 7-8 Cut Automation 7-9

Selecting Protection 7-10

Summary of fader status and FSM functions: 7-11

Automation Options 7-12

Trim 7-12 TLock 7-13 Motors Off 7-13 Snap Mode 7-14 AutoTakeover 7-14 Copy and Swap 7-14 Deleting Mix Passes from the Console 7-14

Automation Setup Options 7-15

Fader Links 7-16

Viewing Links 7-16 Suspending Links 7-16 Deleting Links 7-16

Pro Tools Setup Notes 7-17

MIDI SysEx Save and Load 7-20

Saving Automation Mix Passes: 7-20 Loading Legacy Mix Passes: 7-20

Introduction

APPENDICES

Section Contents Aiii

A: Specifications A-1

/4” TRS Jack A-3 DIN 5-Pin 180° A-3 XLR 3-Pin A-3

B: Connector Details A-3

C: Connector Pinouts A-5

Connector Pinouts . . . continued A-6

D: Environmental Specification A-7

E: MIDI Implementation Chart A-9

F: Service & Warranty Information A-11

Introduction A-11

Warranty A-11 Out of Warranty Repairs A-11 Website Support A-11 Out-of-hours Support A-11

G: Troubleshooting A-13

Introduction A-13 Locating Problems A-13 Audio Faults A-13 Control Faults A-14 Replacing Modules A-15 The Channel Strip (629921X1 / 629994X1) A-16 The Channel Fader (629924X1) A-17 The Channel Meter Panel (629923X1 / X2) A-18 Centre Section Cards A-19 Troubleshooting Chart – Channel bays A-20 Troubleshooting Chart – Centre section A-20

H: Glossary Of Terms A-23

I: Link Options A-25

J: Block Diagrams A-26

Page XX AWS 924-948 Owner’s Manual

Introduction

AWS 924-948 Owner’s Manual Page XXI

READING THIS MANUAL

Introduction to the sections

Following this section, there is a section describing the console’s installation. The rest of the manual presumes that installation has been completed. Two tutorials follow next – one for the AWS 924 and one for the AWS 948. There are then detailed descriptions of the analogue operations (Section 3), DAW operations (Section 4), projects and the Remote (Section5), Total Recall (Section 6) and the automation system (Section 7).

Manual Conventions

Where the AWS 924 and 948 descriptions differ, the 924 is pictured and described on the left, and the 948 on the right.

Labelling from the control surface, TFT screen or Remote Browser appear in Bold.

Notes and tips are indicated like this.

CONTACTING SOLID STATE LOGIC

If you cannot find the information you need on the pages of this manual, please see the AWS support pages at

http://www.solidstatelogic.com

INTRODUCTION TO THE AWS

Launched in 2004, the AWS (Analogue Workstation System) reinvented the professional production console by combining classic SSL Superanalogue™ console technology with comprehensive DAW control hardware in a single work surface. Over 550 consoles later the AWS is now used by leading international recording artists, producers and engineers and has shaped expectations for session workflow within today’s and indeed tomorrow’s production environments.

Designed for mid scale commercial recording and production facilities, the AWS is available in 24 input (AWS 924) or 48 input (AWS 948) variants within a compact 24 fader frame. Both models deliver pristine SuperAnalogue™ mixing, 24 ultraclean SSL SuperAnalogue mic pre’s, classic SSL dual curve EQ on every channel, two assignable SSL Dynamics, legendary Stereo Buss Compressor, TotalRecall™ and full 5.1 monitoring. In addition to on board classic SSL Automation, both models also feature the revolutionary new A-FADA mode where motorised analogue faders follow DAW Automation data.

AWS 924 & 948 also feature Ethernet connectivity for streamlined hardware control of your Digital Audio Workstation, delivering elegant, ergonomic physical control over your entire studio environment with dedicated heavy duty DAW transport, V-Pot multifunction encoders with position indicating LED’s, Digital Scribble Strips, DAW fader mode, global and channel routing control and built-in TFT display for advanced plug-in editing. Project Session Management is kept simple through SSL’s proprietary Logictivity interface.

The AWS is an SSL SuperAnalogue™ console, featuring the audio performance specifications that have established the benchmarks by which other manufacturers are measured. Exceptionally low THD, noise floor & crosstalk levels keep your audio absolutely pristine, while our legendary headroom carries every nuance of your audio and allows engineers to mix ‘hotter’ without distortion.

While the AWS offers a powerful large format analogue console feature set within a compact console design, it also goes further than any other analogue console by integrating seamlessly into a DAW-based facility by incorporating hands-on control of important recording, routing, mixing, and editing functions in all major DAW applications including Pro Tools™, Logic Audio™, Nuendo™, Sonar™ and many others.

Introduction

Page XXI

AWS 9--

Model-specific descriptions are boxed by a thin blue line.

Key Features

• Combination of Superanalogue™ console and advanced DAW controller

• SSL SuperAnalogue™ mix bus provides pristine audio foundations

• SSL SuperAnalogue™ mic pre’s provide transparent record path

• Innovative Dual Path Channel with three versatile operating modes (948 only)

• 48 inputs on AWS 948; o IN-LINE TRACKING = 1 mic + 1 pre-monitor input per channel o IN-LINE MIX = 2 x mono line inputs per channel o STEREO MIX = 1 x stereo line input per channel

• Comprehensive metering of all inputs and outputs

• VU and Phase meter with source selector

• A-FADA Mode where motorised analogue faders follow DAW automation

• Versatile 4 band channel EQ, assignable Dynamics and SSL Master Bus Compressor

• 4-Band EQ design with independent E/G curve switching on selected bands

• 5.1 Surround monitoring and Monitor calibration including Bass management

• MIDI over Ethernet multi layer DAW workstation control

• Contigious Digital Scribble Strips for console and DAW data

• Elegant project setup via SSL Logictivity Remote Browser and SD card storage

• SSL’s unique trademarked Total Recall™ system with ‘TR Autoscan’

• Responsible ‘green’ manufacturing and reduced power consumption

• Compact 24 fader frame ideal for small control rooms

AWS 924

The AWS 924 continues the classic design of the AWS 900.

AWS 948

The AWS 948 maintains the same 24 fader footprint as the AWS 924 (and classic AWS 900) and achieves its 48 input count via a unique Dual Path Channel Strip design where each channel has a single Mic Amp and two line level inputs, a new Stereo EQ and Stereo Insert. This new channel enables three different operating modes: STEREO MIX, IN LINE MIX and IN LINE TRACKING. These differing modes offer a wealth of workflow options that enhance today’s versatile production environments.

Page XXII AWS 924-948 Owner’s Manual

Introduction

AWS 924-948

OWNER’S MANUAL

SECTION 1

INSTALLATION

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AWS Installation

Page 1-ii AWS 924-948 Owner’s Manual

SECTION CONTENTS

Section Contents 1-iii

Pre-Installation Requirements 1-1

Console Control Surface 1-1

Power Connections 1-1 Service Access 1-1 Thermal Considerations 1-1

Air Conditioning 1-1 Cable Ducting 1-1 Grounding 1-1 Unpacking the Console 1-3 Attaching the Legs 1-3 Removing the Trim 1-3

Front Buffer 1-3 End Trim 1-3 Top Trim 1-3

Studio Integration 1-5

Audio Connections 1-5 Connecting a Patchbay 1-5

AWS 924 Patchbay Layout Example: 1-5

Patchbay Guidelines 1-6

Instrument Inputs (AWS 924 Only) 1-6 Mic Inputs 1-6 AWS948 Patchbay layout Example: 1-6

DAW Connection 1-7

Overview 1-7 Installing the ipMIDI driver and AWS Remote 1-7

Software Installation (Macintosh) 1-7 Software Installation (PC) 1-8

Make and Configure the Network Connection 1-8 Direct Network Connection (Macintosh) 1-8 Direct Network Connection (PC) 1-11 Enabling ipMIDI on your AWS 1-12

Finding the Console on the AWS Remote Application 1-12

Setting Your Workstation(s) to Communicate via ipMIDI 1-13 Pro Tools 8 1-14 Logic Pro 9 1-15

Preferences/Control Surfaces Setup Menu 1-16

Network Troubleshooting 1-17 Larger Networks 1-18 Assigning the AWS IP Address 1-19

Using DHCP 1-19 Changing the Static IP Address 1-19

Using Physical MIDI Ports to Connect your DAW 1-20

AWS Installation

AWS 924-948 Owner’s Manual Page 1-iii

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AWS Installation

Page 1-iv AWS 924-948 Owner’s Manual

INSTALLATION

PRE-INSTALLATION REQUIREMENTS

Console Control Surface

he AWS 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 appendices for the console footprint diagram.

Power Connections

The console is fitted with auto-sensing power supplies which will function at any voltage from 100 to 230 volts ±10% without adjustment.

Three IEC mains power-leads are supplied: one with a UK 3-pin fused plug fitted, one with US-style 3-pin mains plug fitted and one with a european 3-pin plug. Please select the appropriate lead for the local power outlets.

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. It is necessary therefore, to have access to the rear of the console.

Thermal Considerations

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.

The heatsink fins on the console rear panels can reach temperatures of approximately 30 degrees Celsius above the

ambient room temperature.

Air Conditioning

It is unlikely that additional air conditioning will be required after installing the AWS (typical dissipation of 450W for the AWS 924 and 600W for the AWS 948). 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 large enough for sufficient 24-circuit multicore cables to be accommodated – 12 for the AWS 924 and 15 for the AWS 948.

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.

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

Pre Installation

AWS 924-948 Owner’s Manual Page 1-1

Pre Installation

Page 1-2 AWS 924-948 Owner’s Manual

Unpacking the Console

The AWS consoles are supplied in a wooden crate without the legs fitted. The legs, manuals and anciliaries are located in a tray at the base of the crate.

The weight of the console is approximately 100kg. It is recommended that at least four people are available before

attempting to manoeuvre the console.

sing 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. Once the top and sides of the crate have been removed there will be sufficient space for four people to lift the console clear from the base.

The console is shipped with its trim already fitted, avoid using any of 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 can be found in the ancillaries bag in the base of the transit crate. A 6mm hex-key is provided to secure the leg bolts.

• The console should first be rolled onto its back. Ensure that ample padding is provided – such as blankets or bubblewrap – 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. Once the console is in position, a limited amount of adjustment is available to compensate for an uneven floor. Do not unscrew the feet inserts by more than about 15mm.

Removing the Trim

If it is necessary to 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

The front buffer [1] 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 [2] 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 [3] is clipped over the front of the meter panels and secured onto the back panels by four M3 screws.

Pre Installation

AWS 924-948 Owner’s Manual Page 1-3

Pre Installation

Page 1-4 AWS 924-948 Owner’s Manual

EXT A1 EXT A2

EXT A3 EXT A4

METER

OUT

EXT B

1 - 4

SEND - MON - RET

INSERT

MIC

INST

LINE

SEND

RTN

DIR

T/BACK

MIC OUT

LISTEN

MIC OUT

T/BACK

MIC IN

LISTEN

MIC IN

MINI

OSC

OUT

MON B MON A

SEND

LEFT

RETURN

LEFT

SEND

RIGHT

RETURN

RIGHT

LEFT

OUT

RIGHT

OUT

MIX OUTPUT

SEND

LEFT

RETURN

LEFT

SEND

RIGHT

RETURN

RIGHT

LEFT

OUT

RIGHT

OUT

REC OUTPUT

ECHO

RTN 1L

ECHO

RTN 1R

FX1

OUT

KEY

FB AL

OUT

FB AR

OUT

ECHO

RTN 2L

ECHO

RTN 2R

FX2

OUT

KEY

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

RED LIGHT / TALKBACK / GP I/O

CUE BUS INJECTS

MIC GAIN

DESK

EXT TB

L INSERT R

MIC

LINE

R/MON

SEND

RTN

OUT

VIDEO

OUT

NETWORK SERIAL 2

(DIAGNOSTICS)

SERIAL 1

(X-RACK)

RESET SD-CARD

FOOTSWITCH

MIDI 1

INOUT

MIDI 2

INOUT

MIDI 3

INOUT

MIDI 4

INOUT

MIDI 5

INOUT

MIDI 6

INOUT

Stereo

Channels

(AWS 948)

Mono

Channels

(AWS 924)

Master Section

(AWS 924 and 948)

Processor Interface and MIDI

(AWS 924 and 948)

GP IO

(AWS 924 and 948)

STUDIO INTEGRATION

Audio Connections

ll connections to the AWS – apart from the two headphone jacks – are located on the rear panels of the console. The

headphone sockets are located on the Centre Section knee panel.

The console rear panel is fitted with a label which identifies all the connections on the connector panel, and provides the pinout for each one (the detail is shown opposite). This information is also provided in the Appendices section of this manual.

All connections are balanced.

All 25-way D-type connectors use screw pillars that utilise the UNC-440 thread.

See the appendices for the pinouts of all audio connectors.

Connecting a Patchbay

The AWS 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.

AWS 924 Patchbay Layout Example:

Studio Integration

AWS 924-948 Owner’s Manual Page 1-5

Title:

Client:

Sheet:

Revision:

Drawn by:

Date:

21/09/10

AWS 924 Patch layout proposal

Standard Configuration

924 0.1

Solid State Logic

SOUND V SIION

Notes:

1. Patchrow AB is isolated

2. D31 is linked to C33, 35, 37, 39

3. D32 is linked to C34, 36, 38, 40

4. J31 is linked to J32

5. Links at G33–36, G37–40, J33–36,  J37–40, K33–36, K37–40,

Normalling Information: Fully normalled: AB 1–24, JK 29  No normalling: AB 25–48, GH 33–40, JK 33–40 All other jacks are half-normalled

234

FX IN

CUE A

CUE B FX SENDS

1234L RLR

ECHO RETURN IN

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

FX OUT

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

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

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

EXT B IN

STEREO REPLAY

INSERT

OUTPUT

LRL

RETURN

INSERT

OUTPUT

RETURN

DIST IN

IX DISTRIBUTION OUT

LRL RL RL R

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

8 TK RECORDER IN

RACK BUS OUT

12345678

EXT A 6TK 4

L R C LFE LS RS

EXT A 6TK 3

L R C LFE LS RS

EXT A 6TK 2

L R C LFE LS RS

EXT A 6TK 1

L R C LFE LS RS

R C LFE LS RS

6 TRACK REPLAY 1

R C LFE LS RS

6 TRACK REPLAY 2 6 TRACK REPLAY 3 6 TRACK REPLAY 4

MAIN LS B

MINI BMAIN LS A

AMP IN

L R C LFE LS RS

MINI A

AMP INAMP IN

AMP IN

R C LFE LS RS

L R C LFE LS RS

R C LFE LS RS

7 18 19 20 21 22 23 249 10 11 12 13 14 15 161 2345678 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

17 18 19 20 21 22 23 249 10 11 12 13 14 15 161 2345678 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

DIRECT OUTPUTS

10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24

CHANNEL INSERT SENDS

7 18 19 20 21 22 23 249 10 11 12 13 14 15 161 2345678 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

17 18 19 20 21 22 23 249 10 11 12 13 14 15 161 2345678 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

7 18 19 20 21 22 23 249 10 11 12 13 14 15 161 2345678 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

17 18 19 20 21 22 23 249 10 11 12 13 14 15 161 2345678 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

MIC LINES USER OPTION

9 10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24 9 10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24

CHANNEL MIC INPUTS

9 10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24 9 10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24

AW OUTPUTS

9 10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24

CHANNEL LINE INPUTS

DAW INPUTS

9 10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24

CHANNEL INSERT RETURNS

LSN

T/B OSC

17 18 19 20 21 22 23 249 10 11 12 13 14 15 161 2345678 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

RLR

F/B A OUT F/B B OUT

AMP A

AMP B

MONITOR INSERT SEND

Lt Rt

DECODER

MONITOR INSERT RTN

L R C LFE LS RS

Lt Rt

ENCODER

R C LFE LS RS

USER OPTION

9 10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24

CUE A 12 34

BUS INJECT IN

FXCUE B

Patchbay Guidelines

Instrument Inputs (AWS 924 Only)

It is not recommended that the ‘Instrument’ inputs are broken out to a patchbay. These inputs are unbalanced and have a high input impedance so, to help avoid the pickup of noise and interference, cable lengths should be kept at short as possible.

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 t

he 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 console. This will reduce the risk of earth loops within the installation.

The screen pins of all analogue inputs and outputs – with the exception of the microphone inputs – are connected directly to the chassis of the AWS924/48.

Mic Inputs

If Microphone inputs are to be connected via a patchbay, the type of patch-row used should be of the insulated variety where the jack screens are not connected to the main body of the patch-row – there are commercially available patch-rows that meet this requirement. The ground connection from each microphone must be linked through the patch jacks to the XLR on the back of the console without interruption.

AWS948 Patchbay layout Example:

Studio Integration

Page 1-6 AWS 924-948 Owner’s Manual

Title:

Client:

Sheet:

Revision:

Drawn by:

Date:

14/09/10

AWS 948 Patch layout proposal

Standard Configuration

948 0.1

Solid State Logic

SOUND V SIION

MAIN LS B

INI B

MAIN LS A

AMP IN

L R C LFE LS RS

INI A

AMP INAMP IN

AMP IN

L R C LFE LS RS

17 18 19 20 21 22 23 249 10 11 12 13 14 15 161 2345678 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

7 18 19 20 21 22 23 249 10 11 12 13 14 15 161 2345678 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

DIRECT OUTPUTS

9 10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24

CHANNEL INSERT SENDS

17 18 19 20 21 22 23 249 10 11 12 13 14 15 161 2345678 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

7 18 19 20 21 22 23 249 10 11 12 13 14 15 161 2345678 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

MIC LINES USER OPTION

10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24 9 10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24

CHANNEL MIC INPUTS

9 10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24 9 10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24

DAW OUTPUTS

9 10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24

CHANNEL LINE INPUTS

DAW INPUTS

10 11 12 13 14 15 161 2 3 4 5 6 7 8 17 18 19 20 21 22 23 24

CHANNEL INSERT RETURNS

REC

1234

FX IN

CUE ALRCUE B FX SENDS

LSN

/B OSC

234L RLR

5L 5R 6L 6R 7L 7R 8L 8R1L 1R 2L 2R 3L 3R 4L 4R 9L 9R 10L 10R 11L 11R 12L 12R 17L 17R 18L 18R 19L 19R 20L 20R13L 13R 14L 14R 15L 15R 16L 16R 21L 21R 22L 22R 23L 23R 24L 24R

17 18 19 20 21 22 23 249 10 11 12 13 14 15 161 2345678 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

EXT A 6TK 4

R C LFE LS RS

EXT A 6TK 3

R C LFE LS RS

EXT A 6TK 2

R C LFE LS RS

EXT A 6TK 1

R C LFE LS RS

ECHO RETURN IN

L R C LFE LS RSL R C LFE LS RSL R C LFE LS RS

6 TRACK REPLAY 1

L R C LFE LS RS

6 TRACK REPLAY 2 6 TRACK REPLAY 3 6 TRACK REPLAY 4

INSERT

REC

OUTPUT

LRL

RETURN

MIX

INSERT

MIX

OUTPUT

RETURN

DIST IN LR

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

X OUT

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

RLR

/B A OUT F/B B OUT

AMP ALRAMP B

UE A

234

BUS INJECT IN

UE B

MIX DISTRIBUTION OUT

LRL RL RL R

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

MONITOR INSERT SEND

Lt Rt

DECODER

MONITOR INSERT RTN

L R C LFE LS RS

Lt Rt

ENCODER

L R C LFE LS RS

8 TK RECORDER IN

TRACK BUS OUT

12345678

1 2 3 4 5 6 7 8 1L 1R 2L 2R 3L 3R 4L 4R

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

EXT B IN

STEREO REPLAY

USER OPTION

33 34 35 36 37 38 39 4025 26 27 28 29 30 31 32 41 42 43 44 45 46 47 48

5L 5R 6L 6R 7L 7R 8L 8R1L 1R 2L 2R 3L 3R 4L 4R 9L 9R 10L 10R 11L 11R 12L 12R 17L 17R 18L 18R 19L 19R 20L 20R13L 13R 14L 14R 15L 15R 16L 16R 21L 21R 22L 22R 23L 23R 24L 24R

Notes:

1. Patchrow AB is isolated

2. K7 is linked to J9, 11, 13, 15

3. K8 is linked to J10, 12, 14, 16

4. L41 is linked to L42

5. Links at J33–36, J37–40,L33–36, L37–40, M33–36, M37–40,

Normalling Information:

Fully normalled: AB 1–24, LM 29 No normalling: AB 25–48, LK 33–40, LM 33–40 All other jacks are half-normalled

DAW CONNECTION

The AWS console communicates with a DAW directly via Ethernet or via three MIDI ports. To use the Ethernet option a third party ipMIDI software driver must be installed on the DAW computer. Registered owners can download this from t

he SSL website: www.update.solidstatelogic.com. Using these methods of communication allows the AWS to be used with a wide variety of DAW applications on a wide variety of platforms. The AWS uses Mackie control or a ‘HUI’ c

ompatible protocol, and so any DAW program that can be configured to use three HUI devices can access the full power

of the AWS.

Please refer to your DAW manual for details on how to configure the DAW application for AWS under Mackie or HUI control.

Overview

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

Optionally the AWS can use a standard MIDI connection between the AWS 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 AWS Remote

Download on to your workstation computer either the AWS923-948_Mac_Support.dmg disk image (Macintosh) or the AWS923-948_Win_Support.zip file (Windows). These contain the AWS Remote and ipMIDI applications and the latest version of the installation instructions:

www.update.solidstatelogic.com/support/consoles/aws/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, Vista and Windows 7, and Macintosh OS X 10.4 upwards.

Software Installation (Macintosh)

Mount the AWS924-948_Mac_Support.dmg disk image and open it.

AWS Remote: Double-click on the AWS Remote application to install.

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 the installation. Once you have logged back in open Audio MIDI Setup, select the MIDI tab 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.

DAW Connection

AWS 924-948 Owner’s Manual Page 1-7

Software Installation (PC)

Open the AWS924-948_Win_Support.zip archive.

AWS Remote: Double click on AWS924-948Remote.exe to install the program.

ipMIDI: Run the setupipmidi_1.8.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 of 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 Remote 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. 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 AWS in network preferences. Another Location (‘internet’ for example) could be created to enable connection to 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.

IP Network

Workstation Computer

etwork Connection

etwork

AWS Console

Network 1

Network 2

USB

DAW Connection

Page 1-8 AWS 924-948 Owner’s Manual

• Using an RJ45 cable, make a direct network connection between the network port on your AWS to a network port o

n 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 AWS.

• 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:

DAW Connection

AWS 924-948 Owner’s Manual Page 1-9

• 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 AWS location so that only the network port connected to AWS is remaining.

DAW Connection

Page 1-10 AWS 924-948 Owner’s Manual

Direct Network Connection (PC)

• Double click on Network Connections 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.

DAW Connection

AWS 924-948 Owner’s Manual Page 1-11

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.

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 t

o 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 console and the message ‘AWS 948-924 SN xxxxx is online’ (where xxxxx is the ID of the console) 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 locate your console ‘No AWS 924-948 connected’ will be shown in red text. In this instance, click on the find icon . If the list is empty,

click on Find, 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.

Once you have made this selection, the AWS Remote will automatically connect to the selected console and display the ‘AWS 948-924 SN xxxxx is online’ message. To connect to a different console, click on the find icon and

change your selection.

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Page 1-12 AWS 924-948 Owner’s Manual

Setting Your Workstation(s) to Communicate via ipMIDI

The AWS 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 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 SSL automation, this port is used to feed SSL automation with MTC.

• Port 8: Used for the import of legacy SysEx TR and SSL automation data saved under earlier software versions.

• 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 Performer / Sonar

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

After making these changes the console should be restarted.

The MCU protocol supports automatic detection of connected control surfaces. 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 8 and Logic Pro 9.

ort

ayer

ssignment

ort

ayer

ssignment

1 1 Faders 1–8 7 – MTC/MMC input *

2 1 Faders 9–16 8 – SysEx

3 1 Faders 17–24 9 – AWS MIDI Port 1

4 2 Faders 1–8 10 – AWS MIDI Port 2

5 2 Faders 9–16

6 2 Faders 17–24

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AWS 924-948 Owner’s Manual Page 1-13

Pro Tools 8

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 SSL automation, 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):

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Page 1-14 AWS 924-948 Owner’s Manual

Logic Pro 9

When Logic is assigned to one of the two AWS workstation 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 Control 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.

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Logic’s Click and ports environment layer selects the SUM of all of the ipMIDI input 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 SUM to individual direct MIDI port assignment. The example below shows Logic on DAW layer 1:

Preferences/Control Surfaces Setup Menu

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

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

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Page 1-16 AWS 924-948 Owner’s Manual

Network Troubleshooting

Most Ethernet adaptor cards have two LEDs associated with each port. The one indicates that the link is connected and the other 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.

On 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 inserted.

• 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 network 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’:

Windows:

Select Run under the Start menu. In the resulting window enter cmd to launch the command prompt. In the command prompt window type ping 192.168.1.2

Macintosh 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.

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AWS 924-948 Owner’s Manual Page 1-17

Larger Networks

To ensure minimum latency the ipMIDI driver uses broadcast 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 broadcast UDP packets, messages between one computer and AWS will be received by all other computers on the network, potentially causing problems in installations with more than one AWS. The UDP packets can be blocked by using a firewall router 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 ipMIDI and (optionally) port 50081 which is used by the AWS Remote application. Most systems can be easily configured with a direct connection between AWS and the controlling computer.

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Page 1-18 AWS 924-948 Owner’s Manual

Assigning the AWS IP Address

When shipped from the factory, the AWS uses a fixed IP address of 192.168.1.2.

Using DHCP

Alternatively, 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 AWS 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. If you have altered the IP mode, you will need to restart your AWS for the change to take effect. A software restart option is available in the SSL > MISC > NET menu.

Changing the Static IP Address

The default fixed IP address can be altered using the console diagnostic port. This should only be necessary where the default address is already in use at an installation.

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:

A standard male – female pin-to-pin 9-way D-type lead can be used for serial connection.

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 set the IP address type the following (note that the spaces are required between the number groups):

ip<CR>

setip nnn nnn nnn nnn<CR>

where ‘nnn...’ is the required IP address.

setmask 255 255 255 0<CR>

Note that this number 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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Using Physical MIDI Ports to Connect your DAW

Optionally the AWS can use a standard MIDI connection between the AWS console and your DAW using a multi port MIDI interface. 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 and the MIDI output of the AWS 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.

Ports 5 and 6 are currently not implemented and are reserved for future expansion.

The recommended maximum length of MIDI cables is 15 meters.

Other Connections

Serial 1 – X-Rack control data. Refer to X-Rack installation manual.

Serial 2 – Diagnostics (SSL Service use)

GP IO – Talkback, Red Light, CUT and DIM trigger inputs. Refer to Appendix C for details.

VGA – 640 x 480 (60Hz) External monitor output.

INOUTINOUTINOUTINOUTINOUTINO

IDI 1

IDI 2

IDI 3

IDI 4

IDI 5

IDI 6

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

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Page 1-20 AWS 924-948 Owner’s Manual

AWS MIDI

Ports

DAW MIDI

orts

AWS 924-948

WNER’S MANUAL

SECTION 2

A AWS 924 TUTORIAL

2B AWS 948 TUTORIAL

AWS 924 Tutorial

Page 2a-ii AWS 924-948 Owner’s Manual

SECTION CONTENTS

Introduction 2a-iv

2A – AWS 924 TUTORIAL

Introduction 2a-1

Studio Configurations 2a-1

Smaller Systems 2a-1 Larger Systems 2a-1

Focus Modes 2a-2

924 Channel Strip 2a-3

Input configuration 2a-3 Signal Processing 2a-3

Dynamics 2a-3 Filter and EQ 2a-3 Insert Point 2a-3

Routing 2a-3

Cue, FX and EFX Sends 2a-3 Bus Routing 2a-3

Panning, Width and Balance 2a-4 Level, Cuts and Solos 2a-4

Centre Section 2a-5

Adjusting the Mix and Record Busses 2a-5 Creating a Monitor Mix 2a-5 Creating Foldback Mixes 2a-5 Using the FX Returns 2a-5 Using Talkback 2a-5 ‘In-line’ Recording 2a-5

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AWS 924-948 Owner’s Manual Page 2a-iii

2B – AWS 948 TUTORIAL

Focus Modes 2b-1

Channel Modes 2b-3

Basic Tracking Configuration 2b-4

ono Configuration 2b-4

Stereo Configuration 2b-4

nalogue-style In-Line Tracking Configuration 2b-5

Band Tracking Mode 2b-5 Overdub/Playback Tracking Mode 2b-5

Mixing Configurations 2b-6

Basic Stereo Mixdown 2b-6 Additional Send Mixing 2b-6 Additional Return Mixing 2b-7

Mode Selection 2b-8

948 Channel Strip 2b-9

Input configuration 2b-9 Signal Processing 2b-9

Dynamics 2b-9 Filter and EQ 2b-9 Inserts 2b-9

Routing 2b-9

Cue and FX Sends 2b-9 Bus Routing 2b-10

Panning, Width and Balance 2b-10 Channel Level, Cut and Solo 2b-10

Centre Section 2b-11

Adjusting the Mix and Record Busses 2b-11 Creating a Monitor Mix 2b-11 Creating Foldback Mixes 2b-11 Using the FX Returns 2b-11 Using Talkback 2b-11

INTRODUCTION

These tutorials aim to provide an operational overview of AWS 924/948 consoles, highlighting the ways in which it is different from other consoles with which operators may be familiar.

Each tutorial provides an overview of typical studio configurations, mode selection and both the channel strip and Centre Section controls.

This section does not cover operation in depth – more detailed information will be found in section 3.

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Page 2a-iv AWS 924-948 Owner’s Manual

AWS 924 TUTORIAL

Studio Configurations

There are a number of ways the AWS 924 can function within your studio environment, depending on how you intend to use it and how much DAW IO is available to you. Two basic ‘serving suggestions’ are outlined below.

Smaller Systems

Larger Systems

DAW

Channel

Mic Input

CUE Sends Ext B

Monitoring

Chan

output

Signal

Processing

Channel Line Input

Foldback

Mix

Bus

DAW

Channel Input:

Mic or Line In

CUE Sends

Monitoring

Foldback

Rec bus

Signal Processing

Mix Bus

Chans 23+24

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AWS 924-948 Owner’s Manual Page 2a-1

Focus Modes

In order to allow console controls to be used for controlling either analogue signals or an external DAW, S

SL created ‘Focus modes’ as a way of allowing the AWS to ‘focus’ on one or other domain. To switch between modes, press the Focus switch, towards the bottom of the console centre section (shown right). T

he button is lit for Analogue Focus, and unlit for DAW Focus. Focus mode can also be quickly checked

by looking at the channel meters: the bottom LEDs stay lit when the console is in Analogue Focus.

While a number of controls always retain the same role (such as analogue signal processing, routing and monitoring, or DAW transport control), the roles of the following controls are different in each Focus mode:

When the console is in DAW Focus mode, analogue level control can be assigned to the V-pots by pressing the CHANNEL button, to the left of the Focus button. This allows ‘In-Line’-style signal control but with the monitor mix being created using the DAW digital mixer. Pressing the V-pot will then reverse the functions of the V-pot and fader.

Channel meters can be locked to either Focus mode by entering the Function Keys’ Meters menu and selecting either DAW or Anl.

Console Element

Analogue Focus (Button lit) DAW Focus (Button unlit)

Channel fader,

plus its cut and solo

Analogue signal in channel DAW channel level

Channel V-pot,

plus its cut and solo

Available for DAW parameters

(see notes below)

Available for DAW parameters or

analogue signal control (see notes below)

Channel

SEL switch

Assigns analogue channel to Master

Section

Controls DAW Record, Select highlights

DAW channel or plugin focus, depending

on mode

Channel

meters

Displays channel’s analogue signal level

(see notes below)

Displays DAW channel level

(see notes below)

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924 CHANNEL STRIP

Input configuration

Select the Mic or Line input by pressing FLIP and adjust the input gain using the appropriate gain pot. The signal level is shown in the meter bridge above the channel.

Signal Processing

Dynamics

Any channel can make use of the two compressor/gate modules housed within the AWS centre section. Press the 1 or 2 button at the bottom of the meter bridge to insert one of them into the channel path.

Dynamics cannot be assigned if they are already being used by another channel.

The IN button at the bottom of the compressor/gate module switches it into circuit.

Filter and EQ

The filter and EQ are both switched in using the EQ IN switch. Turn the HPF pot up from minimum to activate the filter – the EQ IN goes from red to green to indicate that the filter is active.

The EQ has four bands, each with a gain control pot labelled ‘dB’ and frequency control, and the mid bands have Q control. Press the HF and LF bands’ BELL buttons to switch from shelf to bell shape.

Insert Point

To switch the channel insert into circuit, press the INS IN switch in the centre of the EQ section. Press PRE to place it before the EQ in the processing chain.

Routing

Cue, FX and EFX Sends

There are two stereo cue busses and four FX busses. Each channel can feed one of the stereo cue busses and two of the FX busses (FX1 or 3, FX2 or 4). Any send can instead control the EFX system, which uses auxiliary sends to control the level of the channel’s feed to the track busses or direct output – use the

CUE B, FX3, FX4 and EFX switches to select between sends.

Bus Routing

To route channels to the Record and Mix busses, press the REC and/or MIX switch to the right of the channel pan pot.

Use the eight numbered switches immediately underneath the channel meters (shown above right) to route to the track busses. By default, signals are sent post-fader. To source the send pre-fader or post pancontrol, press the PRE or PAN switches beneath the track bus selection switches.

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AWS 924-948 Owner’s Manual Page 2a-3

Panning, Width and Balance

The pan pot towards the bottom of the channel strip is used to adjust the stereo position of signals being sent to the R

ecord and Mix busses, as well as to the Track busses when they are functioning in stereo.

Level, Cuts and Solos

he channel fader controls the channel send to the Rec and Mix busses, as well as any other sends which are operating post-

fader. Use the CUT and SOLO switches below the digital display to mute or solo the signal assigned to the fader.

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CENTRE SECTION

Adjusting the Mix and Record Busses

To assign control of the Record and/or Mix busses to the master fader, hold down the button at the base of the RECORD or MIX columns of the bussing matrix next to the fader, and press the button in the row labelled FADER. Now move the master fader to adjust the bus level.

Creating a Monitor Mix

Press MIX in the MON SRC buttons monitor source buttons on the Monitor Control Panel and ensure that the CUT button is inactive. Adjust the monitor level using the main monitor level pot.

Creating Foldback Mixes

Foldback mixes can be quickly created using the Foldback section of the centre section.

Select sources using the buttons down the right-hand side. The MIX pots control level for the sources to their right. There is also an overall LEVEL control.

Using the FX Returns

External FX processing such as reverbs and delays can be connected to the console’s four FX send busses. FX unit outputs can be returned back into the AWS 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.

Using Talkback

The talkback controls are located to the right of the shuttle wheel. Press SLATE to send talkback to the Mix, Rec and Track busses, press FB A or B to send it to the foldbacks, or press TB ALL to send it to all outputs. The black pots above the TFT screen control communications levels.

‘In-line’ Recording

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 an in-line console. See Section 4 for more details.

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AWS 948 Tutorial

Page 2b-i AWS 924-948 Owner’s Manual

AWS 948 TUTORIAL

FOCUS MODES

he button is lit for Analogue Focus, and unlit for DAW Focus. Focus mode can also be quickly checked

by looking at the channel meters: The bottom LEDs stay lit when the console is in Analogue Focus.

When the console is in DAW Focus mode, analogue level control of stereo channels can be assigned to the V-pots by pressing the CHANNEL button, to the left of the Focus button. This allows ‘In-Line’-style signal control but with the monitor mix being created using the DAW digital mixer. Pressing the V-pot will then reverse the functions of the V-pot and fader.

Channel meters can be locked to either Focus mode by entering the Function Keys’ Meters menu and selecting either DAW or Anl.

In In-line Channel Modes, the V-pot adjusts the secondary channel path’s level, as explained on Page 2b-5.

Console Element

Analogue Focus (Button lit) DAW Focus (Button unlit)

Channel faders,

plus its cuts and solos

Analogue signal in channel DAW channel level

Channel V-pots,

plus its cuts and solos

In-line: Secondary path level; Stereo: Balance

Or DAW params (see notes below)

Available for DAW parameters or

analogue signal control (see notes below)

Channel

SEL switch

Assigns analogue channel to Master Section

Selects DAW Record, Select or

channel plugin depending on mode

Channel

meters

Displays channel’s analogue signal level

(see notes below)

Displays DAW channel level

(see notes below)

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AWS 924-948 Operator’s Manual Page 2b-1

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AWS 948 Tutorial

Page 2b-2 AWS 924-948 Owner’s Manual

CHANNEL MODES

When in Analogue Focus mode, the AWS 948 channel strips can operate within a number of different Channel Modes, suiting a variety of operational contexts. The two channel paths within the channel strips may control any of the following:

1. A mono or stereo input signal, for basic tracking

2. An input signal and monitor return from the DAW, for more advanced (‘in-line’) recording and overdubbing

3. An input signal plus additional FX sends, for mixing sessions with complex effects configurations

4. Two independent input signals, for mixing up to 48 signals

Each channel strip is independently configurable, allowing for a number of modes to be present on the control surface at once.

Over the following pages are more detailed introductions to each the console’s operation modes. The diagrams use the following key:

Console channel signals: (Path A) (Path B)

Other console signals: (stereo)

External signals: (mono) (stereo)

Control:`

Channel V-Pot Channel fader

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Basic Tracking Configuration

For basic tracking, channels can be a mixture of stereo and mono. The signal processing, cue and FX sends are available within b

oth channel configurations. Sends to the DAW can be sourced either from the Channel Outputs or from the Track Busses, and the stereo master return from the DAW might be brought back into the console via either the External inputs or a s

tereo channel. The EFX system can be employed to provide independent level to the DAW send. Mono-configured channels

use In-Line Mix with the secondary channel path left inactive.

Note that Channel Outputs are always mono. Stereo channels therefore need to be sent to the DAW using a pair of Track busses.

Below are examples of how mono and stereo channels might be configured in basic mode. The stereo master return from the DAW may be brought back into the console using an EXT B input (as shown for the mono configuration) or a spare stereo channel (as shown for the stereo configuration). The monitors can be fed by a sum of the mix bus and the DAW return (as shown for the mono configuration) or by just the DAW (as shown for the stereo configuration).

EFX is described in Section 3.

Mono Configuration

Stereo Configuration

Chan 1 Input:

Line In Left, Line In Right

Signal

Processing

Mix Bus

Chan 24

Foldback

Channel Path A

CUE

Sends

Channel Path B

DAW

Monitoring

Track

Bus 1+2

DAW

CUE Sends

Mix Bus

Ext B

Monitoring

Foldback

Channel Path A

Channel

Output

Channel 1 Input:

Mic In or Line In Left

Signal

Processing

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AWS 924-948 Owner’s Manual Page 2b-4

Analogue-style In-Line Tracking Configuration

In In-Line Tracking mode, Channel Paths A and B are used for tracking and monitoring respectively. The V-Pot functions as t

he ‘small fader’, controlling Path A’s record path to the DAW via the channel outputs. The main faders control the monitor level (Path B). The RETURN switch near the pan pot in the channel strip controls whether the monitor path is sourced from DAW send from the record path or from the DAW return:

Band Tracking Mode

For multi-instrumentalist tracking, leave the RETURN switches unselected. The monitor path will therefore be fed from the channel output, ensuring that everything is heard, regardless of the DAW’s record status. Signal Processing can be a

ssigned to either path, allowing it to be committed to ‘tape’ or restricted to the monitoring. Sends to the DAW can be

sourced either from the Channel Outputs or from the Track Busses.

Overdub/Playback Tracking Mode

For overdubbing, pressing the RETURN switches will switch the monitor path to be fed from the DAW return, allowing recorded tracks to be auditioned. The channel outputs should feed the DAW and the DAW channels should be returned to the monitoring paths in the channel from which they are sourced.

M-AUTO and S-CUE use the transport status to automatically control the send and return routing to the monitoring and headphone feeds, as described in Section 3.

Foldback

Channel Path A

Monitoring

DAW track in

Channel Path B

DAW track out

Chan 1

Output

Mix Bus

Channel 1 Mon Input:

Line In R

Channel 1 Rec Input:

Mic In or Line In L

CUE

Sends

Signal

Processing

Foldback

Channel Path A

Monitoring

DAW track in

Channel Path B

Chan 1 Output

Mix Bus

Channel 1 Rec Input:

Mic In or Line In L

CUE

Sends

Signal

Processing

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AWS 924-948 Owner’s Manual Page 2b-5

Mixing Configurations

When mixing in In-line mode, the secondary channel path can be employed either as an additional send from the channel, a

s the right input of a stereo signal, or as an independent additional input path, allowing up to 48 signals to be mixed on the console. Because channels are independently configurable, additional inputs might be assigned to channels not requiring e

xtra sends, allowing those signals that do require the extra send to take advantage of both channel paths.

Basic Stereo Mixdown

asic stereo mixdown uses the channel in Stereo mode:

Additional Send Mixing

In the Additional Send configuration (In-line Mix mode with the in-channel RETURN switch unselected), the second channel path can be sourced pre- or post-fader, and each of the sends can be switched between them. This allows for a high level of flexibility of send leveling and automation. The channel’s signal processing is applied to both channel paths. The Vpot controls the additional send level and the fader the main channel contribution to the Mix and/or Record busses.

Channel Path

DAW track out

Channel Path B

Channel 1 Input:

Line In L

FX Snds

External processing

Track Bus 1

Signal

Processing

FX Rtns

Monitoring

DAW

Stereo

Master

Mix Bus

Chan 1 Input:

Line In Left, Line In Right

Signal

Processing

Channel Path A

Channel Path B

Stereo DAW track out

External processing

FX Rtns

Monitoring

DAW

Stereo Master

Mix Bus

Sends

AWS 948 Tutorial

Page 2b-6 AWS 924-948 Owner’s Manual

AWS 924-948 Owner’s Manual Page 2b-6

dditional Return Mixing

In the Additional Return configuration (In-line Mix mode with the in-channel RETURN switch selected), the two channel p

aths can function entirely independently, with signal processing and FX sends switchable between channel paths. The V-pot

and channel fader provide independent level control to each signal.

Channel Path A

Monitoring

DAW track 25 out

Channel Path B

DAW

hannel 1

Input 1:

Line In L

Signal

Processing

FX Send

+ Return Channel 1 Input 2:

Line In R

Stereo Master

Mix Bus

rack 1

AWS 948 Tutorial

AWS 924-948 Owner’s Manual Page 2b-7

Page 2b-8 AWS 924-948 Owner’s Manual

AWS 948 Tutorial

Mode Selection

Modes are selected using the Function keys in the left-hand side of the centre s

ection (shown right). The channel mode options are displayed in the bottom

row of softkeys when none of the top row of switches are selected.

The channels to be configured are selected by pressing one or more channel s

trip SEL keys, or globally using the ALL Function key.

The default mode is In-line Mix. Press TRK to activate In-line T

rack mode. Press ST to activate Stereo mode. The switches light to indicate In-line Track and Stereo mode. Note that the TRK and ST buttons are inter-cancelling.

To use a mono channel configuration for basic tracking, simply return to In-line Mix mode and ignore the secondary channel path.

When in either In-Line modes, the RETURN switches (near the pan pots in the channel strips) are unselected, meaning that the secondary path is sourced from the primary path. Press RETURN to switch the monitor path to the external signal. The RETURN LED lights to indicate it is active.

When the SET Function key (next to the ALL Function key) is selected, pressing any in-channel nonlatching switches (such as the RETURN switch) will cause that switch to activate in all selected channels

The mode and its basic signal path are indicated in the console TFT screen when the SSL > Chan softkey is pressed. The LEDs below the in-channel RETURN switch also indicate the mode, as indicated in the summary table below:

RETURN

Mode Activation Indication Path 1 Path 2

In-line Mix

extra send

TRK and ST Function keys and

Channel Return all off

Channel IN LINE LED is green,

no Function keys light.

Mic / Line L

Extra

send

In-line Mix

extra input

TRK and ST Function keys off,

press channel Return switch

Channel IN LINE and RETURN

LEDs are green, no Function keys light.

Mic / Line L Line R

In-line

Track

Select TRK Function key

(Channel Return switch off)

Channel IN LINE LED is red,

TRK Function key lights.

Mic / Line L

Channel

Output

In-line

‘Playback’

Select TRK Function key and

channel Return switch

IN LINE is red, RETURN is green,

TRK Function key lights.

Input

source

Line R/ Mon

Return

Stereo Press ST Function key

Channel STEREO LED is yellow,

ST Function key lights.

Line L Line R

AWS 924-948 Owner’s Manual Page 2b-9

AWS 948 Tutorial

948 CHANNEL STRIP

Input configuration

Line input is automatically selected in Stereo mode. In In-line mode, select the Mic or (left) Line input by pressing FLIP and adjust the input gain using the appropriate gain pot. The signal level is shown in the meter bridge above the channel.

Signal Processing

Dynamics

Any channel can make use of the two compressor/gate modules housed within the AWS centre section. In mono mode, press button1 or 2 at the bottom of the meter bridge to insert one of them into the channel path; in stereo mode, press either button to assign both dynamics modules to the stereo channel.

Dynamics cannot be assigned if they are already being used by another channel.

The compressor/gate modules are located below the Track meters. The IN button at the bottom of each module switches it into circuit.

Filter and EQ

The filter and EQ are both switched in using the EQ IN switch. Turn the HPF pot up from minimum to activate the filter – the EQ IN LED goes from red to green to indicate that the filter is active.

Inserts

To switch the channel insert into circuit, press the INS IN switch in the centre of the EQ section. Press PRE to place it before the EQ in the processing chain. The insert is stereo for stereo channels, and is available for either channel path in in-line modes, as explained in Section 3.

Routing

Cue and FX Sends

To activate the Cue or FX sends, press on its gain pot and turn up the gain. The Stereo Cue signal is normally sourced pre-fader – to move it to after the fader, press POST. The stereo cue pan control becomes a balance control on stereo signals. Note that the cue pan can be set to follow the channel pan, in which case the cue pan control becomes the secondary path’s pan and the cue buss follows the channel pan control.

There are two stereo cue busses and four FX busses. Each channel can feed one of the stereo cue busses and two of the FX busses (FX1 or 3, FX2 or 4). Any send can instead feed the EFX system, which uses auxiliary sends to control the level sent to the track busses or direct output – hold ALT/EFX SEL and press the gain pot to select between sends and EFX.

Centre Section Cue and FX bus controls are located in the top right-hand corner of the console.

Page 2b-10 AWS 924-948 Owner’s Manual

AWS 948 Tutorial

us Routing

To route channels to the Record and Mix busses, press the REC and/or MIX switch to the right of the c

hannel pan pot. For in-line signals, the REC and MIX switches operate on the channel path assigned to the main fader. Press on the V-pot below the REC and MIX switches to switch the main fader and Vp

ot. The REC and MIX switches now control the routing of the secondary path.

se the eight numbered switches immediately underneath the channel meters (shown above right) to route to the track busses. By default, signals are sent post-fader. To source the send pre-fader or post pancontrol, press the PRE or PAN switches beneath the track bus selection switches. Centre section track bus controls are located in the top right-hand corner of the console.

Panning, Width and Balance

The pan pot towards the bottom of the channel strip is used to adjust the stereo position of signals being sent to the Record and Mix busses, as well as to the Track busses when they are functioning in stereo.

For stereo signals, the pan pot functions as a width controller. Stereo signal balance is controlled using the V-pot just above the channel’s digital display.

In In-line Mix mode, the main channel pan pot operates on the primary channel path; in ln-line Track mode it operates on the monitor path. By default, the CUE ST pan pot controls pan for the other channel path whenever it is routed to a stereo bus (as indicated by the CUE LED to the left of the CUE ST pan pot being unlit) and the Cue pan follows the main channel pan. Deselect CUE F-CH (Cue Follows CHannel pan) in the Channel Setup screen (See Page 2b-8) to switch the CUE ST pan pot from the channel path to the Cue send.

Channel Level, Cut and Solo

The channel fader controls the channel send to the Rec and Mix busses, as well as any other sends which are operating post-fader.

For In-line Track mode, the main fader controls the secondary channel path (monitor path), and the V-pot controls the primary channel path. In In-line Mix mode the channel fader controls the primary path and the V-pot the secondary path. Pressing the V-Pot will swap the paths assigned to fader and V-Pot.

Use the CUT and SOLO switches below the digital display to mute or solo the signal assigned to the fader.

Note the SEL switch is used for assigning the channel to certain centre section configuration procedures, including the channel mode set-up in the TFT screen.

AWS 924-948 Owner’s Manual Page 2b-11

AWS 948 Tutorial

CENTRE SECTION

Adjusting the Mix and Record Busses

djust the bus level.

Creating a Monitor Mix

Press MIX in the MON SRC buttons monitor source buttons on the Monitor Control Panel and ensure that the CUT button is inactive. Adjust the monitor level using the main monitor level pot.

Creating Foldback Mixes

Foldback mixes can be quickly created using the Foldback section of the centre section.

Select sources using the buttons down the right-hand side. The MIX pots control level for the sources to their right. There is also an overall LEVEL control.

Using the FX Returns

Using Talkback

The talkback controls are located to the right of the shuttle wheel. Press SLATE to send talkback to the Mix, Rec and Track busses, press FB A or B to send it to the foldbacks, or press TB ALL to send to foldback A and B outputs. The black pots above the TFT screen control communications levels.

This page is intentionally almost blank

AWS 948 Tutorial

Page 2b-12 AWS 924-948 Owner’s Manual

AWS 924-948

OWNER’S MANUAL

SECTION 3

NALOGUE OPERATIONS

This page is intentionally almost blank

Analogue Operations

Page 3-ii AWS 924-948 Owner’s Manual

SECTION CONTENTS

Section Contents 3-iii

Introduction 3-1

Focus Modes 3-1 The TFT Screen 3-2

Channel Modes (948 only) 3-3

Channel Configuration (AWS 948 only) 3-4

In-line Mix 3-4 In-line Track 3-4

Channel Strip 3-5

Overview 3-5 Input configuration 3-6 Channel Meters 3-6 Dynamics 3-6 Filter 3-7 Equalizer 3-7 Insert Point 3-8 Signal Processing Order 3-8 Cue, FX and EFX Sends 3-9 Direct Output 3-10

Direct Outputs and EFX: 3-10

Track Bus Routing 3-10

Track Busses and EFX: 3-10

REC and MIX Bus Routing 3-11 Panning, Width and Balance 3-11 Scribble Strips 3-12

Channel Display 3-12 Chinagraph Scribble Strip 3-12

Channel Selection 3-12 Cut and Solo Switches 3-12 Level Control 3-13

Centre Section 3-15

Introduction 3-15

Power Supply Indicators 3-15

Function Keys 3-15 Monitoring 3-16

MON MODE buttons 3-16 Monitor Configurations 3-17 External Source Selectors 3-17 Monitor Options 3-17 Monitor Insert 3-18 Bass Management 3-18 Monitor Level Calibration 3-19 Monitor Level Display and Calibrated listening level 3-20

SOLO Configuration 3-20

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-iii

Mix and Rec Bus Controls 3-21

Adjusting a master level 3-21 Assigning Centre Section Dynamics 3-21 Assigning the Stereo Compressor 3-21 Activating bus inserts 3-21

Dynamics Operation 3-22

Compressor/Limiter Section 3-22 Gate/Expander Section 3-22

Track Bus Master Controls 3-23 Cue/FX Send Master Controls 3-23

Cue and FX bus injection 3-23

Foldback Headphone Outputs 3-24 Stereo FX Returns 3-24 Communications 3-25

Communications Setup Options 3-26

Oscillator 3-26 Centre Section Metering 3-27 Console Setup Menu 3-28

Automation 3-28 Talkback 3-29 Monitor section 3-29 Desk Setup 3-29 DAW setup 3-30 Desk settings 3-30

Analogue Operations

Page 3-iv AWS 924-948 Owner’s Manual

ANALOGUE OPERATIONS

INTRODUCTION

AWS consoles combine SuperAnalogue™ technology from SSL’s analogue consoles with powerful DAW control. Much of t

he control surface will be familiar to any recording engineer who has previously used our SL 4000 or SL/XL 9000 console ranges. Once recorded, signals can then be manipulated within the DAW via the AWS control surface, and then either summed internally within the DAW or returned to the analogue domain for processing through the fader-strip EQ sections and assignable dynamics processors, and monitored in stereo or 5.1.

The AWS 948’s in-line architecture allows for a seamless interaction between input and DAW signals, in the vein of SSL’s classic E and G series consoles.

Focus Modes

In order to allow console controls to be used for controlling either analogue signals or an external DAW, SSL created ‘Focus modes’ as a way of allowing the AWS to ‘focus’ on one or other domain. To switch between modes, press the Focus switch, towards the bottom of the console centre section (shown right). The button is lit for Analogue Focus, and unlit for DAW Focus. Focus mode can also be quickly checked by looking at the channel meters: the bottom LEDs stay lit when the console is in Analogue Focus.

When the console is in DAW Focus mode, analogue level control of stereo channels can be assigned to the V-pots by pressing the CHANNEL switch, to the left of the Focus button. This allows ‘In-Line’-style signal control but with the monitor mix being created using the DAW digital mixer. Pressing the V-pot will then cause the functions of the V-pot and fader to be swapped.

948: In In-line Channel Modes, the V-pot adjusts the level for one of the channel paths, as explained on the following page. In Stereo mode, the V-pot becomes a balance control. The CHANNEL switch is still available for DAW control.

Channel meters can be locked to either Focus mode by entering the Function Keys’ Meters menu and selecting either DAW or Anl.

Console Element

Analogue Focus (Button lit) DAW Focus (Button unlit)

Channel faders,

plus its cuts and solos

Analogue signal in channel DAW channel level

Channel V-pots,

plus its cuts and solos

In-line: Secondary path level; Stereo: Balance

Or DAW params (see notes below)

Available for DAW parameters or

analogue signal control (see notes below)

Channel

SEL switch

Assigns analogue channel to Master Section

Highlights DAW channel, track arm or

plug-in select

Channel

meters

Displays channel’s analogue signal level

(see notes below)

Displays DAW channel level

(see notes below)

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-1

The TFT Screen

he centre section TFT screen provides access to a number of console configuration items, in addition to its primary role

as plug-in editor.

The 16 boxes at the base of the screen indicate the functions assigned to the 16 buttons in two rows of eight below the screen.

The four boxes above them indicate the functions assigned to the central four buttons in the row of six. Note that the two outside buttons are used for scrolling left and right, where relevant.

he picture below provides example illustrations of how the screen and controls relate.

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

Note that a VGA output on the back of the console allows the console’s screen to be displayed on an external monitor. See Section 1 for details.

Misc

Setup

SSL

(blank)

(blank) Restart

Analogue Operations

Page 3-2 AWS 924-948 Owner’s Manual

CHANNEL MODES (948 ONLY)

- A mono or stereo input signal, for basic tracking.

- An input signal and monitor return from the DAW, for more complex (‘in-line’) recording and overdubbing.

- An input signal plus additional FX sends, for mixing sessions with complex effects configurations.

- Two independent input signals, for mixing up to 48 stems.

Modes are selected using the Function keys in the left-hand side of the centre section (shown right). The channel mode options are displayed in the bottom row of softkeys when none of the top row of switches are selected.

The channels to be configured are selected by pressing one or more channel strip SEL keys, or globally using the ALL Function key.

The default mode is In-line Mix. Press TRK to activate In-line Track mode. Press ST to activate Stereo mode. The switches light to indicate In-line Track and Stereo mode. Note that the TRK and ST buttons are inter-cancelling.

To use a mono channel configuration for basic tracking, simply return to In-line Mix mode and ignore the secondary channel path.

Mode Activation Indication Path 1 Path 2

In-line Mix

extra send

TRK and ST Function keys and

Channel Return all off

Channel IN LINE LED is green,

no Function keys light.

Channel

return

Extra

send

In-line Mix

extra input

TRK and ST Function keys off,

press channel Return switch

Channel IN LINE and RETURN

LEDs are green, no Function keys light.

Line L/Mic Line R

In-line

Track

Select TRK Function key

(Channel Return switch off)

Channel IN LINE LED is red,

TRK Function key lights.

Line L/Mic

Channel

Output

In-line

‘Playback’

Select TRK Function key and

channel Return switch

IN LINE is red, RETURN is green,

TRK Function key lights.

Line L/Mic Line R

Stereo Press ST Function key

Channel STEREO LED is yellow,

ST Function key lights.

Line L Line R

RETURN

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-3

Channel Configuration (AWS 948 Only)

here are a number of routing and processing options for any channel with an In-line mode, accessed using the TFT screen. The 16 boxes at the base of the screen indicate the functions assigned to the 16 buttons in two rows of eight below the screen.

The VGA connector on the back of the console allows the console’s screen to be displayed on an external monitor. See Section 1 for details.

ith the channel’s SEL button enabled, activate the on-screen SSL button, followed by the on-screen Chan button. A basic graphic of the channels’ signal chain will appear in the screen, with the primary channel path’s chain displayed in red, and the secondary channel path’s chain in green.

The components of the signal path (signal processing units, routing sources and destinations) are shown as coloured boxes along the chain graphic for the path they are currently in. If a component can be switched between paths, there will be a grey box in the other chain graphic, mirroring the position of the component within its current path. Use the bottom row of buttons to toggle these elements between paths.

The left-hand box in each row indicates the currently selected input to that channel path. EFX assignments are indicated by the Track bus (TRK) coming off the side of the send assigned to EFX.

Note that these screens are only concerned with the distribution of the displayed components between the channel paths, and do not indicate processing order or secondary path source selection.

The Channel Setup screen provides further configuration options to specific Channel Modes:

In-line Mix

CUE F-CH: In In-line Mix mode the CUE ST pan pot controls pan for the Monitor path whenever it is routed to a

stereo bus, or to a track bus with Pan selected, and the Cue pan follows the main channel pan. Select Cue F-Ch (Cue Follows CHannel pan) to force the Cue Pan to always follow the main Pan control.

EFX CHOP: (Only available when EFX is active) Switches the channel’s EFX send from the Track bus to the Channel output. The CHOP PRE/EFX LED in the channel strip lights green to indicate that the channel output has been assigned to the EFX.

When in ‘send’ mode (with the in-channel RETURN switch not selected), the bottom-left button in the set of 16 toggles the source for the secondary channel path between PRE and POST fade – the default is POST.

In-line Track

Auto-M takes control of the RETURN switch to provide automatic monitor source switching between the channel

paths, following the DAW transport status. The monitor path is heard in Play, and the input path is heard in Record or Stop.

S-Cue employs automatic cue send source switching between the channel paths, following the DAW transport status, to provide full zero latency drop-in and record monitoring, a sum of both paths is heard in Play and only the input is heard when in Record or Stop.

Cue F-Mon: In In-line Track mode the CUE ST pan pot controls pan for the Channel path whenever it is routed to a stereo bus, or a Track bus with Pan selected, and the Cue pan follows the main channel pan. Select Cue F-Mon (Cue Follows Monitor path) to force the CUE ST bus to always follow.

Analogue Operations

Page 3-4 AWS 924-948 Owner’s Manual

CHANNEL STRIP

ote that throughout this section, where the 924 and 948 differ, the 924 channel strip is shown on the left and the

948 on the right. Text specific to one model is framed in a blue box with the model name at the top.

Overview

Channel meters and peak lights, showing analogue levels or DAW levels depending on console Focus mode.

See Page 3-6.

REC: DAW channel is in Record Ready; EDIT: channel is assigned to the plug-in editor.

See Section 4.

Track bus routing and source selection: Pre-fader (PRE), post-pan (PAN) or post fader (neither)

See Page 3-10.

Dynamics assignment: Press 1or 2 (either for Stereo channels) to assign available compressors.

Compressor source is post EQ; IP or OP move it to begninning or end of chain.

See Page 3-6.

Input section

See Page 3-5.

EQ section

See Page 3-7.

Cue and FX sends. Press pot to activate.

948: hold ALT/EFX Sel and press pot to switch between odd/even sends or EFX.

See Page 3-9.

Channel pan and routing buttons for Mix and Rec busses. (948: RETURN enables 48-chan mixing)

See Page 3-11.

V-Pot, plus solo and cut switches. Control either DAW channel or console channel,

depending on the console Focus mode. Press V-pot to operate V-sel switch.

See Page 3-12.

Channel display, showing a variety of DAW and console information.

See Page 3-11.

SEL switch, selects channel for editing in DAW or centre section, depending on console Focus

mode. Also used as a Record Ready switch and Plug-in Edit selectors.

See Page 3-12.

Channel solo and cut switches for DAW or console channel, depending on the console Focus mode.

See Page 3-12.

Channel fader. Controls either DAW channel or console channel, depending on the console Focus mode.

See Page 3-12.

WS 924 AWS 948

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-5

Input configuration

Channel Meters

The 12-segment peak meters at the top of the meter bridge indicate the post-input-trim signal level. Mono signals use the left hand bargraph. The OVER indicators light red when the level reaches +24dBu.

The bottom segment lights permanently in Analogue Focus mode, to provide clear indication that the analogue signal, not DAW information, is being displayed.

Dynamics

Any channel can make use of the two compressor/gate modules housed within the AWS centre section.

Press the 1 or 2 switch in the bottom right-hand corner of the meter bridge to insert one of the two centre section compressor/gate processors into the channel path. For stereo channels, pressing either button will insert both compressors. These are non-latching buttons that will only function if the selected processor is not already assigned.

The dynamics are normally inserted post EQ, pre insert. Press the IP switch to place them at the start of the processing chain, or OP to place them at the end.

See Page 3-22 for details of how to operate the compressor/gate.

AWS 948

Stereo signals use both meters. In In-line modes, the primary channel path signal is shown on the left and the secondary on the right.

924 and 948

WS 924

Switch between the Mic and Line inputs by pressing FLIP. T

he LED next to each knob lights to indicate it is selected (red for Mic, green for Line). The INST switch selects a 1MΩ high impedance input (6.35mm jack), suitable for sources such as guitars.

Adjust the input level using the MIC (

+12dB to +75dB) or LINE (±20dB, notched at 0dB) pot. The INST input is controlled via the MIC pot.

In addition there are switches for phase reverse (Ø), 48V phantom power and a 20dB PAD.

WS 948

Switch the primary channel path’s input between Mic or Line by pressing FLIP. The LED next to each knob lights to indicate it is selected (red for Mic, green for Line). The r

ight (or monitor) channel path’s input has no input selection as it is always fed from the same connector when it is active. If Stereo mode is selected, the inputs are automatically set to Line.

Adjust the input level using the MIC (+12dB to +75dB) or LINE (±20dB) pot. When in stereo mode, both legs of a stereo line input are adjusted by the LINE control. In in-line mode, the monitor path’s input is always at unity gain.

There are switches for 48V phantom power and a 20dB PAD. Inputs to both channel paths have phase reverse switches – LØ acting on the left or primary channel path input, and RØ acting on the right or monitor path.

924

948

Analogue Operations

Page 3-6 AWS 924-948 Owner’s Manual

Filter

The filter and EQ are both switched in using the EQ IN switch ( ).

Turning the HPF pot up from minimum then activates the filter (18dB/Octave high pass). The EQ IN LED is off when inactive, lights red when the EQ is in circuit but the filter is inactive, and lights green when the f

ilter is active.

Equalizer

The EQ is activated using the EQ IN switch ( ).

The EQ IN LED lights when the EQ is in circuit. Each band has a gain control pot labelled dB (±20dB of gain, notched at 0dB), and a frequency control with the following ranges:

LF: 40Hz - 600Hz. LMF: 200Hz - 2kHz HMF: 600Hz - 7kHz HF: 1.5kHz - 22kHz

High (HF) and low (LF) bands default to a shelve shape. Press each band’s BELL button to switch to a fixed Q parametric shape.

High-mid (HMF) and low-mid (LMF) bands are parametric, adjust the Q between 0.2 and 2 using each band’s Q pot.

G-EQ ( ) toggles the EQ shape between E-Series and G-Series EQ curves and control interaction.

The difference between E-Series and G-Series EQ is as follows:

E Series The bell curves are steeper sided and there is no overshoot on the shelf curve. E Series EQ is more aggressive and is therefore better for removing problem frequencies.

G SeriesThe bell curve has a more rounded shape at low gains and the shelf curve overshoots zero slightly at the base of the curve. G Series EQ is more subtle and is often considered particularly suited to instruments and vocals.

With the gain at maximum boost or cut both curves are identical.

AWS 948

The upper G-EQ switch operates on shelving bands and the lower on parametric bands, as indicated by the symbols to the right of the switches.

The EQ can be switched between channel paths in the Channel Setup screen described on Page 3-4.

10 100 1k 10k 20k

25.0

20.0

15.0

10.0

-5.0

0.0

5.0

0.0

15.0

20.0

25.0

'G type'

E type'

Both

0.0

25.0

20 100 1k 10k 100k

5.0

0.0

15.0

20.0

G type"

'E type'

924

948

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-7

Insert Point

To switch the channel insert into circuit, press the INS IN switch ( in the pictures on the previous page) in the centre of the EQ section – the LED to its left lights yellow to indicate that it is active. Press PRE to place the insert immediately before the EQ in the processing chain.

Signal Processing Order

The table below lists the processing order possibilities and the button combinations which accomplish them. The buttons involved are the IP and OP switch in the DYNAMICS area of the meter bridge, and the insert’s PRE switch, located above the INS IN switch mid-way down the EQ section:

Processing Order Active Switches

EQ ® Dynamics ® Insert

No routing switches active

Insert ® EQ ® Dynamics

PRE

Dynamics ® EQ ® Insert

Dynamics ® Insert ® EQ

IP + PRE

EQ ® Insert ® Dynamics

Insert ® Dynamics ® EQ

OP + PRE (948)

Insert ® EQ ® Dynamics

OP + PRE (924)

WS 948

When in Stereo channel mode, the insert send and return is stereo. In In-line modes, the left insert connections are used for the primary channel path and the right connections for the Monitor path. The active insert is then selected via the Channel Setup screen, described on Page 3-4.

Analogue Operations

Page 3-8 AWS 924-948 Owner’s Manual

Cue, FX and EFX Sends

he area below the EQ controls the channel’s send to the console’s two stereo cue busses and four FX busses. Each channel can feed one of stereo cue busses and two of the FX busses (FX1 or 3, FX2 or 4). Alternatively, the send controls for one of the busses can be assigned to the EFX system, which enables greater routing flexibility from the AWS channels by employing redundant auxiliary sends to control the l

evel of the channel’s feed to the track busses or direct output.

To activate the Cue or FX sends, press on its gain pot (the ON LED to the pot’s right will light) and turn up the gain. The Stereo Cue signal is normally sourced pre-fader – to move it to after the fader, press POST.

When the SET Function key (next to the ALL Function key) is selected, pressing any in-channel non-latching switches (such as an FX activation switch) will cause that switch to activate in all selected channels

Only one auxiliary send control from each channel may feed the EFX system.

AWS 924

The stereo cue’s blue pan pot can be used to pan the channel send to the stereo bus.

By default, CUE A, FX1 and FX2 are active. To switch from CUE A to CUE B, FX1 to FX3 or FX2 to FX4, press the CUE B, FX3 and FX4 switches beside the relevant gain pot.

To use any bus send control to feed the EFX system, press the EFX button beside the relevant gain pot. That gain pot will now allow you to adjust the level being sent to any active track busses or, if the EFXC Function key is active, the channel direct output.

The EFX LED will light to indicate that EFX is active, and the DIRECT PRE/EFX LED lights green to indicate

that the channel output has been assigned to the EFX.

EFX is only available if the selected channel has a send assigned to the EFX system.

AWS 948

The stereo cue’s blue pan pot can be used to pan mono channel sends to the stereo bus. In stereo mode, it becomes a balance control. FX busses receive a mono sum of the signal from a stereo channel.

If the CUE LED is unlit, the stereo cue is following the main pan and the stereo cue pan pot is functioning as a pan control for the secondary channel path. The REC/MIX LED indicates the secondary path’s routing to the REC and MIX busses, as described on Page 3-11. To return the pot to controlling the stereo cue pan, deselect CUE F-CH in the Channel Setup screen (as described on Page 3-4) and deassign the sending path from both MIX and TRACK buses, if PAN is selected.

The ALT/EFX SEL switch below the FX controls allows you to cycle the Stereo Cue and FX sends between the main and alternative sends, and the EFX system:

By default, CUE A, FX1 and FX2 are active. To switch to the alternative sends (CUE B, FX3 or FX4 respectively) press and hold ALT/EFX SEL and press the relevant gain pot. The CUE B, FX3 and FX4 LEDs will light to indicate when they are active.

With ALT/EFX SEL still held, a second press on the pot will activate the EFX system. That gain pot will now allow you to adjust the level being sent to any active track busses or, if EFX CHOP is selected in the Channel Setup screen, the channel direct output.

The EFX LED will light to indicate that EFX is active. The CHOP PRE/EFX LED in the channel strip lights green to indicate that the EFX signal is feeding the channel output.

924

948

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-9

Direct Output

y default, the channel direct output is sourced post-fader. To source it pre-fader, press the DIRECT PRE/EFX (948:

CHOP PRE/EFX) switch, located above the CUE ST gain pot.

irect Outputs and EFX

The EFX system allows redundant auxiliary send controls to be used to control the channel’s send to the direct output. To employ EFX for any channel, select the auxiliary send control which is least likely to be needed in the channel (Stereo Cue, F

X1 or FX2), and assign it to the EFX system:

Note also that only one auxiliary send control from each channel may feed the EFX system – if a second auxiliary send is assigned to EFX within the same channel, it will replace the originally assigned auxiliary.

Track Bus Routing

Channel signals can be routed to the track busses using the eight numbered switches immediately underneath the channel meters. By default, signals are sent post-fader. To source the send pre-fader or post pan-control, press the PRE or PAN switches beneath the track bus selection switches. When the source is post-pan, the odd-numbered track busses receive the left component, and the even-numbered busses receive the right component.

Note that the Track busses are designed for external tracking and not for internal sub-grouping – they cannot be routed to the Mix and Rec busses.

Track Busses and EFX:

The EFX system allows redundant auxiliary send controls to be used to control the channel’s send to the Track busses. To employ EFX for any channel, select the auxiliary send control which is least likely to be needed in the channel (Stereo Cue, FX1 or FX2), and assign it to the EFX system:

The selected gain pot will now allow you to adjust the level being sent to any active track busses.

Note that only one auxiliary send control from each channel may feed the EFX system – if a second auxiliary send is assigned to EFX within the same channel, it will replace the originally assigned auxiliary.

AWS 924

Press the EFX button beside the gain pot. The EFX LED will light. Check that the EFXC Function key is not pressed, as this employs the EFX on the direct channel output, not the track busses.

AWS 948

Press and hold the ALT/EFX SEL switch below the FX controls and press the relevant gain pot twice. The EFX LED will light. Check that EFX CHOP in the Channel Setup screen is not selected, as this employs the EFX on the direct channel output, not the track busses.

924 and 948

AWS 924

Press the EFX button beside the gain pot. The EFX LED will light and the selected gain pot will now control allow you to adjust the Channel output level.

Press the EFXC Function key to switch the channel’s EFX send from the Track bus to the Channel output. The DIRECT PRE/EFX LED in the channel strip lights green to indicate that the channel output has been assigned to the EFX.

AWS 948

Press and hold the ALT/EFX SEL switch below the FX controls and press the relevant gain pot twice. The EFX LED will light and the selected gain pot will now control allow you to adjust the Channel output level.

In the Channel Setup screen, select EFX CHOP to switch the channel’s EFX send from the Track bus to the Channel output. The CHOP PRE/EFX LED in the channel strip lights green to indicate that the channel output has been assigned to the EFX.

Analogue Operations

Page 3-10 AWS 924-948 Owner’s Manual

REC and MIX Bus Routing

he Record and Mix busses are independent stereo busses which receive a post-pan,

post-fader channel signal. To route channels to them, press the REC and/or MIX switch

to the right of the channel pan pot ( ). The REC and MIX LEDs light to indicate t

hat the route has been made.

Panning, Width and Balance

AWS 948

For in-line signals, the REC and MIX switches operate on the channel path assigned to the main fader. Press on the V-pot below the REC and MIX to switch the main fader and routing switches between channel paths.

The main REC and MIX LEDs indicate the routing for whichever path is normally assigned to the main fader in the current mode, and the REC/MIX LED next to the CUE ST pan pot ( ) indicates the other channel path. The REC/MIX LED lights red to indicate Record bus routing, green to indicate Mix bus routing and amber to indicate both routes.

924

948

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-11

AWS 948

For stereo signals the pan pot functions as a width controller with normal stereo image in the centre. When the pan pot is turned to the right an out-of-phase left component is introduced to the right signal, and vice versa, resulting in a widening of the signal’s width beyond the speakers. When the pan pot is turned left in-phase components are introduced to the opposing component in a similar way, resulting in a narrowing of the width with fully left being mono.

Stereo signal balance is controlled using the V-pot just above the channel’s digital display – pressing the V-Sel resets the balance to 0dB. Note that stereo mode is indicated by the STEREO LED to the left of the PAN/WIDTH label ( in the image above-right).

For in-line signals, the main channel pan pot operates on the channel path normally assigned to the main fader in the current mode. When the Channel Setup screen CUE F-CH (Cue Follows CHannel pan) button is active (See Page 3-4), or the sending path is feeding a stereo bus, the CUE ST pan pot becomes the pan control for the secondary channel path – as indicated by the CUE LED to the left of the CUE ST pan pot ( in the image above-right) being unlit.

Scribble Strips

Channel Display

he channel display functions as a digital scribble strip. It displays the analogue channel name when in Analogue Focus mode, as defined in the Remote Browser. In DAW Focus mode, it displays 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 4 for more information on DAW control, and Section 5 for more information on editing channel names in the Remote Browser.

Chinagraph Scribble Strip

The channel strip provides a traditional scribble strip – use it for scribbling on.

Channel Selection

The SEL button is used for assigning the channel to the centre section for certain set-up procedures.

A contiguous range of channels can be selected by pressing and holding the SEL button for the lowest channel in the range, then pressing the SEL button for the highest channel. To select all channels, use the ALL softkey which appears in the lower row of the Function keys when no upper Function key is selected.

When the SET Function key (next to the ALL Function key) is selected, pressing any in-channel nonlatching switches (such as the FX activation switches and RETURN switch) will cause that switch to activate in all selected channels.

SEL buttons are also used for selecting channels in the DAW or for record-readying DAW tracks. See Section 4 for more details.

Cut and Solo Switches

The CUT and SOLO switches below the digital display allow the signal assigned to the fader to be muted or soloed. Similarly, the CUT and SOLO switches above the digital display allow the signal assigned to the V-pot to be muted or soloed.

CUT switches work on all post-fader sends by default. However, it is possible to configure them to mute pre-fader sends as well. This is done using the Input Cut Enable option in the TFT screen’s Console Setup menu, described on Page 3-28.

The solo function can be configured via the AFL/PFL Function keys, as described on Page 3-20.

Solo Isolates

To prevent any channels from being muted when a SOLO switch is pressed, select the AFL/PFL Function key followed by the ISO softkey which appears beneath it, then press any SOLO switches which you wish to isolate from the Solo function. Selected switches will flash (along with the ISO softkey). When all the required channels have been solo isolated, deselect the ISO softkey. See Page 3-20 for more details regarding AFL/PFL Function key operations.

924 and 948

AWS 948

The solo-in-place function of the two channel paths can be linked together using the LNSL Function key, described on Page 3-15.

WS 948

When in an In-line mode, the upper row of the digital scribble strip displays any name associated with the channel path assigned to the V-pot, and the lower row displays any name associated with the channel path assigned to the channel fader.

Analogue Operations

Page 3-12 AWS 924-948 Owner’s Manual

Level Control

he 100mm fader at the bottom of the channel strip controls the channel send to the Rec and Mix busses,

as well as any other sends which are operating post-fader.

Note that in DAW focus mode, this function can be assigned to the channel V-pot by pressing the CHANNEL button in the centre section.

Selected Faders can all be set to 0dB using the Function keys: with none of the upper row of buttons selected, press the 0dB softkey in the bottom row.

The analogue faders can be automated using SSL’s automation system, or using A-FADA which allows your DAW automation to control the analogue faders. When in DAW Focus, the fader is used to control the track fader within the DAW.

See Section 4 for more information on DAW control, and Section 7 for more information on SSL automation and A-FADA.

924 and 948

AWS 948

The channel fader controls both components of a stereo signal. The relative level of the components (the balance) can be adjusted using the V-pot.

For In-line Track mode, the main fader controls the secondary channel path (monitor path), and the V-pot controls the primary channel path. In In-line Mix mode the channel fader controls the primary path and the V-pot the secondary path. The controls can be flipped between channel paths by pressing on the V-pot.

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-13

Oscillator

and

comms

levels

TFT

screen and

controls

DAW

control

panel

Transport

and

motion

controls

Rec/Mix bus

Functions

Comms

controls

Master fader

Monitor panel

Function keys

Foldback and

Stereo Return

controls

Dynamics and Aux/track bus

masters

us Meter

anel

Analogue Operations

Page 3-14 AWS 924-948 Owner’s Manual

CENTRE SECTION

Introduction

The console’s centre section is used to control the console busses, dynamics, monitoring and overall configuration. It also p

rovides access to a number of DAW control elements which are covered in Section 4.

Power Supply Indicators

Beneath the VU meters, on the main control surface, you will find a row of four LEDs that display the current state of power r

ails 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 be lit whenever the console is powered up. If any are unlit, please call your technical department! If you don’t have one, please refer to the maintenance information in the appendices of this manual.

Function Keys

A number of console elements are configured using the Function keys, located in the top right quarter of the monitor panel. The top row of buttons assign a subset of softkeys to the lower row of buttons. The display indicates the function assigned to the lower row. Frequently, the lower softkeys are also submenus, opening up a further set of softkeys in the lower row of buttons.

When none of the upper row of keys are selected, the following functions are applied to the lower softkeys:

ALL Activates the SEL key on all channel strips.

SET Groups the controls of all channels with their SEL key activated. With SET enabled, pressing any momentary

switch on any selected channel will cause the switch action to be replicated across all selected channels.

0dB Sets selected faders to 0dB

AWS 924

EFXC (Only available when EFX is active) Switches

the channel’s EFX send from the Track bus to the Channel output. The DIRECT PRE/EFX LED in the channel strip lights green to indicate that the channel output has been assigned to the EFX.

AWS 948

TRK Toggles all selected channels between In-

Line Mix and In-Line Track mode.

ST Toggles all selected channels between mono

and stereo configuration.

LNSL Links the solo-in-place functions of the two

channel paths in In-line modes.

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-15

Monitoring

Turn the large blue pot below the MONITOR LEVEL to set the level of the main control room monitors. For fine level adjustments, push down on the monitor pot before turning. The display above it will display ‘Fine’ mode.

The monitor pot is also used to control other miscellaneous levels:

ress any of the column of six MISC LEVELS switches to the right of the monitor pot, and then use the monitor

pot to adjust their level. Deselect the MISC LEVELS switch to return to main monitor control.

o immediately silence the monitors, press CUT (below the monitor pot). To immediately reduce the monitoring level, press DIM. The amount of gain reduction is adjusted by pressing the DIM button at the top of MISC LEVELS and turning the monitor pot. The DIM function is automatically activated by any of the following COMMUNICATIONS buttons: LISTEN, TB ALL, F/B A, F/B B, EXT T/B; or by the Oscillator’s TRACK, REC or MIX buttons.

To solo or mute an individual component of the monitoring, use the MONITOR MUTE/SOLO buttons above the monitor pot. These buttons are cut switches by default. To use them as solo switches, select SOLO at the top

of the MON MODE buttons .

Select the speakers on which to monitor using the LS SELECT buttons: ALT 5.1 (‘Main B’), MINI A or MINI B. The Main 5.1 speakers (‘Main A’) are active when no others are selected. Control the relative level of the mini speaker outputs using the main monitor pot by selecting MINI in the MISC LEVELS buttons.

To select the monitoring source, use the MON SRC buttons. These include the Record (REC) and 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 are stereo except those brought in via the EXT A monitor source selector (see next page).

To select what the control room headphones hear, press the PHONES buttons: The control room monitors (CR MON), the foldbacks (FB A or FB B), or nothing (CUT). This headphones level is set by pressing PHONES in the MISC LEVELS buttons and turning the monitor pot.

MON MODE buttons

Ordinarily, the console monitoring is 5.1-enabled, connecting all six monitor busses to their respective monitor outputs. With DOWNMIX selected, 5.1 inputs are folded down to the monitor path via a 5-2 matrix and fed 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. When a MINI speaker output is selected, DOWNMIX is automatically activated.

MONO sums the left and right monitor busses, feeding the result to the left and right monitor outputs. The ØL button reverses the phase of the left monitor feed, providing a quick way of checking for any phase anomalies in a stereo mix.

SOLO turns the monitor cut buttons ( ) into monitor solo buttons.

The SOLO CLEAR button lights when a channel SOLO or centre section AFL is active. Press it to clear all solos.

Analogue Operations

Page 3-16 AWS 924-948 Owner’s Manual

Monitor Configurations

External Source Selectors

The EXT A and EXT B monitor source selectors in the monitor panel ( in the picture on the previous page) can switch between a number of inputs.

XT A has four external 5.1 inputs which may be fed by any source of six channels or less, with Track busses 1–6 providing a fifth input. EXT B has four external stereo inputs, plus a fifth encoder return input, selected via the INS button in the M

ONITOR OPTIONS Function key submenu. (see below)

Sources from both External selectors 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 the external sources feeding the monitor panel’s source selectors press either the EXT A or EXT B Function key (shown right) and select a source from those which appear in the bottom row of the Function key display. To sum any external sources within each Selector press the SUM Function key before selecting sources. The source (or sources) can now be routed to the monitors using EXT A or EXT B in the MON SRC buttons .

Selecting LTR in the EXT B Function Keys provides monitoring for an encoder’s LtRt output - see next page.

Note it is possible to rename the consoles ‘External Sources’. Please see Section 5 for further information.

Monitor Options

A variety of monitoring options are accessed via the MONITOR OPTIONS Function keys:

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, or stereo sources via EXT B. (see above)

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 next page) 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.

CAL and BASS are described on the following pages.

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-17

onitor Insert

The External A selector (ie all 5.1 sources) output is automatically routed via a 5.1 insert point to which an encoder/decoder system may be interfaced; this insert may be switched in/out of circuit using the INS softkey in MONITOR OPTIONS. 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 decoder. 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.

Bass Management

Selecting the BASS softkey in MONITOR OPTIONS produces a layer of bass management options:

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 appendices 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.

Selecting NEXT 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.

Pressing RTRN returns you to the top layer of the MONITOR OPTIONS selection.

Analogue Operations

Page 3-18 AWS 924-948 Owner’s Manual

onitor Level Calibration

The monitor calibration system enables the level of any loudspeaker connected to the AWS to be trimmed 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.

Locate the console oscillator (above the TFT screen), press OSC ON and select the PINK ON button; the default level for the console’s pink noise output is +4dBu RMS. This calibrated level can be adjusted using the ‘Pink’ trim pot below the Level control.

et 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 monitors to be calibrated using the LS SELECT buttons in the monitor panel.

Select CAL in the first layer of MONITOR OPTIONS. Pressing either AL, AR or AC will send pink noise to the Left, Right or Centre loudspeaker 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 LFO option (see previous page) is off or on.

85dB calibrated level – please see following page.

Selecting NEXT produces a second layer of calibration options:

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

LFG (Low Frequency Gain) 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. All speakers will initially be 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.

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-19

onitor Level Display and Calibrated listening level

Further monitor calibration options are accessed via the TFT screen. The 16 boxes at the base of the screen indicate the functions assigned to the 16 buttons in two rows of eight below the screen. Press the SSL button, followed by MISC >

SETUP and locate the following options in the list:

onitor 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 pot’s 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 studio’s monitoring level to match that displayed on your Monitor Level display.

The monitor gain that corresponds to +85dB SPL can be set by adjusting the main monitor level control to give an SPL of 85dB, then pressing the 85dB switch in the first CAL page within the MONITOR OPTIONS Function keys.

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 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 Monitor Gain Display option, ‘Gain’, displays the volume in decibels, with a maximum value of 0dB. All other values are reductions of this level through to ‘OFF’.

SOLO Configuration

The console’s default Solo mode is a destructive solo-in-place – soloing a channel cuts all other channels. The alternative solo modes – AFL, PFL and Solo-in-front are selected via the Function keys. Press the AFL/PFL button above the display to produce the following options in the lower row of softkeys:

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 3-17.

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 3-16) 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.

AWS 948

It is also possible to link the solo function in the two channel paths by pressing the LNSL Function Key, in the bottom right of the Function keys when none of the upper Function keys are selected.

Analogue Operations

Page 3-20 AWS 924-948 Owner’s Manual

Mix and Rec Bus Controls

he console’s stereo Record and Mix busses are mainly controlled using the master fader and bussing matrix towards the bottom right-hand corner of the center section. The meters for the busses are located immediately to the right of the right VU meter. The VU meters can be set to display either bus via the METERS Function keys. See Page 3-27 for more details.

The matrix is used to activate and configure the bus inserts, dynamics and master fader. To access a matrix function:

Hold down the button at the base of the RECORD or MIX column; Press the required b

utton from the right-hand button column. The function symbol in the appropriate bus column will light to indicate it is active. To all intents and purposes, the bus signal flows through these facilities from top to bottom.

Adjusting a master level

To adjust the master level of either bus, hold the appropriate bus button and press the button in the row labelled FADER. This assigns the bus to the master fader to its right, allowing the level to be adjusted. 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.

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

Assigning Centre Section Dynamics

To assign the centre section compressor/gate to one of the master busses, hold the appropriate bus button and press the button in the row labelled DYN. Both dynamics sections are employed – 1 for the left bus, 2 for the right. If the DYN symbol does not light, check that neither of the dynamics units is assigned to a channel. The dynamics sections are inserted after the insert point.

Dynamics operation is described on the following page.

Assigning the Stereo Compressor

In addition to the dynamics section, the AWS features a new version of SSL’s legendary G Series compressor; it is located above and to the right of the TFT screen.

To assign the main stereo bus compressor to one of the master busses, hold the appropriate bus button and press the button in the row labelled COMP.

Press the IN button to switch the compressor into circuit – the IN LED lights to indicate it is active. The meter at the top of the compressor indicates gain reduction in dB.

Activating bus inserts

The Record and Mix busses have balanced pre fade insert points. To switch the inserts into circuit, hold the appropriate bus button and press the button in the row labelled INS.

The summing (∑) matrix buttons allow the insert return to be 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.

The insert point is pre fader and compressor.

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-21

Dynamics Operation

hile the Stereo Bus Compressor controls are self explanatory, the two compressor/gate sections require a word or two

of explanation:

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.

he dynamics sections are located below the track bus meters. The compressor makes up the top half of each section, and

the gate makes up the bottom half. Both compressor and gate use the same gain element.

The IN button at the bottom of the gate switches the entire section in and out of circuit.

The 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 towards the base of the gate links the sidechain signal of that unit to the sidechain of the other dynamics section. The control voltages are then summed together, so that whichever section has the most gain reduction will control the other section. This is most useful when using both dynamics sections on a stereo signal.

The KEY button at the bottom of the gate enables a dynamics section to be controlled by an external source signal.

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 when fully clockwise.

PK: The compressor normally has an ‘over-easy’ characteristic. Pressing PK switches this to

peak sensing, and replaces the ’over-easy’ characteristic with a hard knee.

THRESHOLD: This controls the level at which the compressor starts to act.

Automatic gain make-up is provided, to maintain a steady output level as you introduce more 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 an∞:1 Gate, or as a 2:1 Expander when the EXP button is pressed.

RANGE: Determines the depth of gating or expansion. When turned to 0 the gate 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 speed at which the Gate/Expander reduces the signal level once it has passed below

the threshold, variable from 0.1 to 4 seconds. 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.

Analogue Operations

Page 3-22 AWS 924-948 Owner’s Manual

Track Bus Master Controls

he master output level controls for the eight track busses are located in the top right of the centre section. The Track bus levels are displayed in the eight meters in the lower left-hand quarter of the LCD metering above the bus master controls.

The gain ranges from -∞ to +10dB and the pots are indented at the ‘12 o’clock’ position, which corresponds to 0dB gain.

Following level control, the bus outputs can be injected with tone (using the Oscillator’s TRACK switch – see Page 3-26) and talkback (using the talkback SLATE switch to the right of the shuttle wheel – see Page 3-25) before being fed to the connector panel.

An AFL function (post tone and talkback inject) is provided for each bus. Selecting AFL on a single track bus will route signal to both left and right AFL busses, whereas selecting it on odd and even numbered busses will route the odd numbered output to the left AFL bus and the even numbered output to the right AFL bus.

Cue/FX Send Master Controls

Each channel is fitted with one Cue Stereo and two mono FX controls for use as foldback or feeds to effects devices etc. The Cue Stereo controls in each channel may be routed to one of two busses – Cue Stereo A or Cue Stereo B. Similarly the FX1 controls can be routed to either the FX 1 or FX 3 bus, and the FX2 controls to the FX 2 or FX 4 bus.

The output level controls for the Cue and Aux busses are located in the top right of the centre section (see right). The bus levels are displayed in the eight meters in the lower right-hand quarter of the LCD metering above the bus master controls, with the cue bus components labelled AL, AR, BL and BR, and the FX busses labelled 1 to 4.

The gain ranges from -∞ to +10dB and the pots are indented at the ‘12 o’clock’ position, which corresponds to 0dB gain.

An AFL function is provided for each output. Selecting AFL on a single track bus will route signal to both left and right AFL busses, whereas selecting it on odd and even numbered busses will route the odd numbered output to the left AFL bus and the even numbered output to the right AFL bus.

Cue and FX bus injection

In order allow external signals (such as a stereo sum of additional DAW channels) to be added to the Cue and FX sends signal without using up desk channels, bus inject connections are provided on the console connector panel for each Cue and FX bus. Signals brought in on these connectors are simply added to the Cue and FX busses at unity-gain, before the AFL function and output level control.

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-23

Foldback Headphone Outputs

he console’s Foldback A and B outputs can be used to feed studio floor headphone amplifiers. The F/B A and F/B B

controls are located immediately to the right of the TFT screen.

At the bottom of each section there is a LEVEL control, plus CUT and AFL functions.

The six switches down the right-hand side of each foldback section activate the sources which can be fed to the Foldback outputs. Note that these switches are not inter-cancelling – all six sources can be active s

imultaneously.

The MIX 1 pot is used to control the level of the first two: the Record bus (REC) and External source selector B (EXT). The MIX 2 pot is used to control the level of the second pair of sources: the Mix bus (MIX) and External source selector B (EXT). The final two sources are the stereo downmix control room monitor signal (ST MON) and the Cue Stereo outputs (ST A or ST B), with Cue A going to Foldback A, and Cue B to Foldback B.

Note that the Stereo Returns can also be added to the Foldbacks – see below.

The F/B A and F/B B buttons in the COMMUNICATIONS section add talkback to the foldback outputs.

Stereo FX Returns

The console’s four stereo FX Returns are designed to be driven by the outputs of devices which have been fed from the corresponding mono FX busses.

At the bottom of each section there is a LEVEL control and AFL. The left and right components of the signal can be cut individually using the R CUT and L CUT switches – useful for checking reverb returns, and to defeat unwanted signals on the ‘open’ input when using mono returns. Stereo returns can be routed to the record and mix busses using the REC and MIX switches.

The MONO switch sums the stereo return components together, routing a mono to all the destinations. Very useful when you are using a mono FX device, as it saves having to parallel return inputs.

When MONO is inactive, the BALANCE control provides balance between the left and right return signals, and the WIDTH pot controls the width, from full stereo to mono. When MONO is activated, the BALANCE control becomes a pan control.

Stereo returns can also be routed to the foldbacks using the FB A and FB B switches, with independent level control provided by the STUDIO pot.

Analogue Operations

Page 3-24 AWS 924-948 Owner’s Manual

Communications

he main communications controls (talkback etc.) are located to the right of the shuttle wheel at the bottom of the console (see left).

There is a built-in talkback microphone ( ) located in the utilities section above the TFT screen. Level controls for the communications are found here (see right).

Note that a gain control for the talkback mic preamp is provided on the connector panel adjacent to the external talkback output jack. 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 to minimum unless you want the console mic to contribute to the talkback system.

The SLATE button interrupts the Record, Mix and Track bus outputs with talkback. The utilities section Slate pot controls the level of the talkback mic feed to these busses.

The F/B A and F/B B buttons inject talkback onto Foldback outputs A and B respectively, after the level and cut controls. The utilities section TB to Foldback pot controls the level of the talkback mic feed to the Foldbacks.

Note that the TB to FB option in the Setup menu defines whether talkback sums with or replaces the normal foldback signal. (See below)

The EXT T/B button injects talkback to the external talkback send, via a 6.35mm jack on the connector panel. Talkback Out controls this level.

An external ‘listen’ mic signal can be connected via an XLR on the centre section connector panel, and is usually placed in the recording area. The LISTEN button injects this mic signal onto the Mini A loudspeaker feeds, and dims the main loudspeakers. The LISTEN pot controls the mic level.

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’.

Note that the SLATE button cuts the monitors, and the other talkback buttons dim the monitors.

RED LIGHT 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.

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.

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-25

ommunications Setup Options

Further Talkback, Listen and Red Light communication options are accessed via the TFT screen. The 16 boxes at the base of the screen indicate the functions assigned to the 16 buttons in two rows of eight below the screen. Press the SSL button, followed by Misc > Setup and locate the following options in the list:

Talkback switches are: Select the operation of the talkback buttons: Momentary / Latching / Auto

(Play) / Auto (Record).

Listen switch is: Select the operation of the Listen buttons: Latching / Auto (Play) / Auto

(

Record).

Red light switch is: Select the operation of the Red Light switch: Manual / Auto (Play) / Auto

(Record).

TB switches disable Listen: This allows the Listen function to be switched off when talkback is activated,

thus avoiding feedback problems.

TB to FB: (Sums / Replaces) When assigning talkback to foldbacks, this option defines

whether talkback sums with or replaces the normal foldback signal.

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 ‘oscillator’ is in fact a comprehensive tone and pink noise generator. It is 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.

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.

LEVEL This pot 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 multi-turn presets located below the level control; a red LED lights to show when the level control is in the calibrated position.

FREQ This rotary switch provides six preset frequencies.

The oscillator may be routed to the TRACK busses, the MIX bus and the REC bus (individually or simultaneously) using the switches to the right of the LEVEL pot.. The oscillator output is also available on an XLR on the centre section connector panel.

Analogue Operations

Page 3-26 AWS 924-948 Owner’s Manual

Centre Section Metering

itted above the centre section is a meter panel for all of the console busses.

On the left there are two VU meters and a phasemeter, which can display the outputs of the Record, Mix, Monitor or Solo busses. The indicators between the meters show the selected signal.

On the right there are a number of LCD bargraphs. The top row of bargraphs meter (from left to right) the stereo MIX and REC busses, followed by the 6 components of the monitor busses (L, C, R, LS, RS, LFE) and the stereo solo bus. The bottom row meter (from left to right) the eight track busses, the two stereo cue busses and the four mono 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 in the Function keys. Select the METERS button to produce the following functions in the softkeys below the display:

Daw Locks the channel metering to the selected DAW layer.

Anl Locks the channel metering to the analogue layer.

If neither DAW or Anl is selected the channel metering follows the console’s Focus switch.

VU This button cycles the source for the VU meters between the REC (record) bus, MIX bus or MON

(monitor) bus, – the appropriate signal name will highlight in between the left and right VU meters to indicate what is being displayed. Note that the SOLO level is automatically displayed whenever a solo or AFL function is activated on the console.

10db This button introduces a 10dB reduction in the VU signal, for the purpose of metering high level signals. The

red -10dB signal between the LEFT and RIGHT VUs lights to indicate this function is active.

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

HLD Select this to hold the peak readings indefinitely. When active, press this button twice to clear the peaks.

Meter scaling options are accessed via the TFT screen. The 16 boxes at the base of the screen indicate the functions assigned to the 16 buttons in two rows of eight below the screen. Press the SSL button, followed by Misc > Setup and locate the meter scaling in the list:

Analogue Meter Scaling: 24 dBu = 0dBFS / 22 dBu = 0dBFS / 20 dBu = 0dBFS / 18 dBu = 0dBFS.

Analogue Operations

AWS 924-948 Owner’s Manual Page 3-27

Console Setup Menu

he centre section TFT screen provides access to a setup menu that holds a number of useful console-related items. Select

SSL followed by Misc and then Setup.

Note that a VGA connector on the back of the console allows the console’s screen to be displayed on an external monitor. See Section 1 for details.

The Setup options are described over the following pages.

Misc

Setup

SSL

(blank)

(blank) Restart

Analogue Operations

Page 3-28 AWS 924-948 Owner’s Manual

Solid State Logic AWS 924, AWS 948 Owner's Manual

Specifications and Main Features

Frequently Asked Questions

User Manual