Soundcraft BROADWAY User manual
BROADWAY Contents 1
2 BROADWAY Contents
© Harman International Industries Ltd. 1998
All rights reserved
Parts of the design of this product may be protected by worldwide patents.
Part No. ZM0182
Issue 1
Soundcraft is a trading division of Harman International Industries Ltd.
Information in this manual is subject to change without notice and does not represent a commitment on the part of the vendor. Soundcraft shall not be liable for
loss or damage whatsoever arising from the use of information or any error contained in this manual.
No part of this manual may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, electrical, mechanical, optical,
chemical, including photocopying and recording, for any purpose without the
express written permission of Soundcraft.
It is recommended that all maintenance and service on the product should be carried out by Soundcraft or its authorised agents. Soundcraft cannot accept any liability whatsoever for any loss or damage caused by service, maintenance or repair
by unauthorised personnel.
Harman International Industries Limited.
Cranborne House,
Cranborne Road,
Cranborne Industrial Estate,
Potters Bar,
Herts.,
EN6 3JN
UK.
Tel: 01707 665000
Fax: 01707 660482
BROADWAY Contents i
CCoonntteennttss
1 Introduction 1.1
Live Sound 1.2
System Overview 1.3
2 Installation 2.1
Dimensions and Configurations 2.2
Precautions and Safety Instructions 2.3
Mains Installation 2.4
Connections 2.5
3 Components Of The System 3.1
Input Audio Rack 3.2
Output Audio Rack 3.4
Input Control Surface 3.5
Master Control Surface 3.9
VCA Extender Surface 3.12
4 Running The System 4.1
The Network 4.2
Booting The System 4.3
Fader Tray 4.4
The Assignable Channel Strip 4.5
Master Surface 4.15
Outputs 4.19
5 Touchscreen Functions 5.1
General Syntax 5.2
Cue List 5.3
MIDI Event Lists (MEL's) 5.6
BBRROOAADDWWAAYY
ii BROADWAY Contents
Setup 5.16
Solo T/B 5.20
Detect network 5.22
Audio Diagnostics 5.23
Dual Network 5.25
6 AUTOMATION 6.1
Overview 6.2
Terminology 6.3
Creating Cues 6.4
Renumbering 6.5
Replaying Cues 6.6
Replay Scope 6.7
Preview 6.9
7 Playing Back Cues and Mixing 7.1
The Cursor, and Non-Sequential Cues 7.3
The [NEXT] Predictor 7.4
Mixing 7.5
Offsets 7.6
Selectively Copying Data Between Cues 7.8
GrAuxes and Matrices 7.10
8 Hints and Tips 8.1
Setting Up A Show 8.3
Fader Reassignment 8.4
Sensible Arrangement 8.4
Problem-Solving 8.6
More Flexibility In The Hardware 8.6
9 Software Update Policy 9.1
Software Upgrade Notes 9.2
10 Surface Fader Calibration 10.1
Appendix A A.1
Introduction A.2
What is a Control System? A.3
Enter HCA A.4
System Overview A.6
Conclusion A.10
BROADWAY Introduction 1.1
BBRROOAADDWWAAYY
IInnttrroodduuccttiioonn
1.2 BROADWAY Introduction
LLiivvee SSoouunndd
There is an awkward paradox at the heart of live sound mixing today.
On the one hand, there is a growing requirement in live sound for reset automation and repeatability in the increasingly technical environment of the Live Event.
Not only does the sound designer need to be able to reset and re-route channels
reliably during the evening to get the most out of the available resources, but
there is now a need for integrated control over external devices such as FX units,
Playback and outboard processing. Engineers and operators are becoming sidetracked from mixing duties by the need to set up, reset, trigger and check all these
extra parameters, both inside the console, and externally.
All live engineers know that immediacy of control and ease of use in a high-pressure situation are of paramount importance for any piece of live sound equipment.
There is no point in developing a highly complex automation system if the engineer can no longer creatively mix the show without worrying about complex
operational tasks and special software requirements.
Secondly, the number of radio microphones in use on even quite basic shows is
constantly increasing, and conventional console frames are having to be extended
to allow for more and more input channels.
To further complicate matters, the Producer or venue owner will not want to give
up any more seats than is absolutely necessary.
Broadway is our answer to these changing needs. Whilst offering the designer a
high level of reset, programmability, outboard control and flexibility, Broadway
remains very simple for the engineer or operator to use on a daily basis, and furthermore can be configured to take up much less space than a conventional console of an equivalent number of inputs.
Once Broadway has been set up for even the most demanding live show, the main
operational areas of the console - the fader trays, the channel strip and the metering - are sufficiently familiar to allow the operator to get on with the task of creatively mixing the show, while the mundane daily switching and routing functions
are performed by the console on a scene-by scene basis.
BROADWAY Introduction 1.3
SSyysstteemm OOvveerrvviieeww
The Broadway system is based upon an X into 32 + 5 into X configuration. This
means that the console will support potentially any number of inputs, mixed onto
32 Group / Aux (GrAux) send busses, from which a matrix of up to 40 outputs
may then be derived.
There are five basic building blocks for any Broadway system:
l Input Audio Rack
l Master Audio Rack
l Input Control Surface
l Master Control Surface
l VCA Extender Surface
The above units may be arranged in any order or physical location, but must be
interconnected via the Ethernet Network. Every element, or Node, on the
Network is a stand-alone unit. Each has its own Power Supply (dual redundant
in the racks), and a Processor Card for data processing and Network connectivity.
Please see Running The System below for a more detailed description of
Network Functionality and system boot procedure.
1.4 BROADWAY Introduction
BROADWAY Installation 2.1
BBRROOAADDWWAAYY
IInnssttaallllaattiioonn
Loading...