Soundcraft Electronics Broadway (1996) Broadway User Guide

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: [phone]
Fax: [phone]

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

2.2 BROADWAY Installation

DDiimmeennssiioonnss aanndd CCoonnffiigguurraattiioonnss

BROADWAY Installation 2.3

PPrreeccaauuttiioonnss aanndd SSaaffeettyy IInnssttrruuccttiioonnss

GGeenneerraall PPrreeccaauuttiioonnss

Avoid storing or using the system in conditions of excessive heat or cold, or in
positions where it is likely to be subject to vibration, dust or moisture. Do not use
any liquids to clean the fascia of the unit: a soft dry brush is ideal. Use only water
or ethyl alcohol to clean the trim and scribble strips. Other solvents may cause
damage to paint or plastic parts.

Avoid using the console close to strong sources of electromagnetic radiation (e.g.
video monitors, highpower electric cabling): this may cause degradation of the
audio quality due to induced voltages in connecting leads and chassis.

Caution!

In all cases, refer servicing to qualified personnel.

HHaannddlliinngg aanndd TTrraannssppoorrtt

Be sure to disconnect all cabling before moving. At all times avoid applying exces­sive force to any knobs, switches or connectors.

PPoowweerr SSuupppplliieess

The power supplies in the racks are auto adjusting for mains input voltages. The
power supplies in the control surfaces are user switchable between 2 input volt­ages: nominally 115V AC and 230V AC.

In all cases ensure that the correct fuses are used. The values required

are clearly shown on the appropriate fascias.

SSiiggnnaall LLeevveellss

It is important to supply the correct input levels to the racks, otherwise signal to
noise ratio or distortion performance may be degraded; and in extreme cases,
damage to the internal circuitry may result. Likewise, on all balanced inputs avoid
sources with large commonmode DC, AC or RF voltages, as these will reduce the
available signal range on the inputs. Note that 0dBu = 0.775V RMS.

The microphone inputs are designed for use with balanced low impedance (150 or
200 ohms) microphones.

Caution!

DO NOT use unbalanced microphones or battery powered condenser

microphones without isolating the +48V phantom power: degraded per-

formance or damage to the microphone may result.

The sensitivity of the Mic inputs is variable from +4dBu to -66dBu, with a maxi­mum input level of +25dBu. The Line Input sensitivity is variable from +14dBu to

-46dBu with a maximum input level of +35dBu.

2.4 BROADWAY Installation

MMaaiinnss IInnssttaallllaattiioonn

WWiirriinngg CCoonnssiiddeerraattiioonnss

A For optimum performance it is essential for the earthing system to be clean

and noise free, as all signals are referenced to this earth. A central point
should be decided on for the main earth point, and all earths should be
star-fed from this point. It is recommended that an individual earth wire
be run from each electrical outlet, back to the system star point to provide
a safety earth reference for each piece of equipment.

B Install separate mains outlets for the audio equipment, and feed these inde-

pendently from any other equipment.

C Avoid locating mains distribution boxes near audio equipment, especially

tape recorders, which are very sensitive to electromagnetic fields.

D Where possible ensure that all audio cable screens and signal earths are

connected to ground only at their source.

PPoowweerr SSuupppplliieess

Warning!

Before switching on your system, check that the mains voltage selectors

on the control surfaces are set to the correct mains voltage for your area,

and that the fuse is of the correct rating and type. This is clearly marked

on the case of the power supply. Do not replace the fuse with any other

type, as this could become a safety hazard and will void the warranty.

BROADWAY Installation 2.5

CCoonnnneeccttiioonnss

Soundcraft part numbers are in italics

MMaasstteerr AAuuddiioo PPFFLL

Console has Neutrik NC5MP 5 pin male XLR connector (FK0933) which mates
with Neutrik NC5FX (FK0934)

Pin Signal

pin 1 Audio Gnd
pin 2 Left channel +
pin 3 Left channel ­pin 4 Right channel +
pin 5 Right channel -

MMaasstteerr AAuuddiioo -- RRaacckk AAuuddiioo MMuullttiiccoorree

Console & Rack have ITT Cannon 23 pin Trident Ringlock connector part
no.192990-1290 (FF0934).

Mating part: ITT part # 192990-1320 (FF0933).
Need male pins 192990-0080 (FG0664) for both ends of audio cable

Pin Signal

1 PFL1L+
2 PFL1L­3 CONN
4 PFL1R+
5 PFL1R­6 AGND
7 PFL2L+
8 PFL2L­9 PFL2R+
10 PFL2R­11 PFL3L+
12 PFL3L­13 PFL3R+
14 PFL3R­15 CRML+
16 CRML­17 CRMC+
18 CRMC­19 CRMR+
20 CRMR­21 AGND
22 TBOUT+
23 TBOUT­Note: pin 3 tells the console that the rack is connected.
We recommend Canford Audio FSM12 cable.

2.6 BROADWAY Installation

LLiittttlliittee

12V 300mA Halogen type.
Console has 4 pin Neutrik XLR female connector NC4FX
pin 4 +12V dc (300mA)
pin 2& 3 not connected
pin 1 0V (chassis)
Littlite must be at least 18 to reach over ACS.
We recommend Littlite part # 18RXH4

AACCSS

25 pin D-type connector
Wired pin to pin. All pins must be connected - i.e. standard printer cables cannot

be used.
Male part: FB0170 25 pin D-type IDC cable mount
Female part: FB0101
Recommended cable: Thomas & Betts part # 300-25-100
N.B.: maximum cable length we have tried is 10m.

EEtthheerrnneett

Broadway uses 50W BNC (10-base 2) connections (to IEE 802.3)
Recommended cable: RG58BU type (UR43) (LB0119)
Minimum cable length: 3m
Maximum cable length: 100m
Recommended connector: M/A Com part # 115-01-010 (FZ2260)
50W Terminator @ end nodes only: M/A Com part # B35Z98E501X99 (FZ2259)
T-pieces - M/A Com part # 105-03-000 (FZ143768)

AAuuddiioo IInnppuuttss

The audio inputs are via combined XLR/1/4" Jack Neutrik connectors (NCJ6FK).

BROADWAY System Components 3.1

BBRROOAADDWWAAYY

CCoommppoonneennttss ooff tthhee
SSyysstteemm

!

3.2 BROADWAY System Components

IInnppuutt AAuuddiioo RRaacckk

HHaarrddwwaarree

An Input Audio Rack contains 40 complete inputs, along with all the connectivity
both for the Audio and for the Network. Potentially any number of Input racks
may be added to a Broadway system, each rack adding 40 inputs. The MIX BUS
interconnections are carried via HAN144D 144-pin multiway connectors from
rack to rack, ending up in the Output rack. These connectors must be attached
(using the supplied interconnect cables) to enable audio to pass through the sys­tem.

Audio connectivity in the standard console is via Neutrik Combi connectors, which
offer both female XLR and 1/4 TRS Jack sockets. Certain custom consoles will
include HAN144D or EDAC90 multiway connectors in addition to the standard
connectivity.

The inserts are on 1/4 TRS Jacks, are fully balanced, and switchable IN/OUT via
software from the surface.

The electronics inside the rack consist of vertically-mounted PCB boards, and are
divided into three sections - input cards at the top, EQ cards in the middle, and
Mix cards at the bottom. The racks seat twenty cards from left to right, and each
card in the input and EQ sections carries two channels - hence 40 channels per
rack.

BROADWAY System Components 3.3

In the lower part of the rack is a sliding tray which contains the dual redundant
power supplies and the processor card. The tray, when removed from the rack,
will break the contact with the rest of the rack, and therefore isolate the supply to
the rack. (1) The Processor card is attached to the front of the rack, and will
therefore be disconnected with the movement of the tray.

The power supplies operate in parallel, but the rack can operate on a single supply
if one should fail. The processor card contains all the network connectivity, and
the MIDI IN / OUT and THRU.

The input racks house 40 inputs each (or 20 inputs if half-filled). The front panels
of the rack are sectionalised and hinged, and may be opened to reveal the Input,
EQ and MIX cards respectively.

A series of led's on the cards show the status of the data and power loops. Green
LED's represent the power, and red the data loop. All power, audio and data
loops are supplied via the backplane connection.

1 Of course, as with any Broadway component, the unit should be isolated from the mains before attempting to remove or modify

any hardware element of the unit.

3.4 BROADWAY System Components

OOuuttppuutt AAuuddiioo RRaacckk

HHaarrddwwaarree

The output rack carries all of the GrAux, Main and Matrix outputs for the
Broadway system. It also handles connectivity to the Solo, Talkback and comms
audio on the Master Surface via a 23-pin connector.

The electronics are on vertically-mounted PCB boards, similar to the Input racks.
The cards are divided into two main types - Mix Bus and Quint Output. The
rearcon of the output rack contains all output connectivity including inserts for the
GrAuxes and Matrices. Note that the GrAux inserts may be switched IN/OUT in
software, but the Matrix inserts are broken upon insertion of a jack, and should
therefore be run through a normalised patchbay or processor to maintain the sig­nal.

The power supply and processor are the same as those in the input rack. See the
description in the input audio rack section above.

The output rack handles all bus outputs from, and data routing for, the Broadway
system. Because of this, it is the only potentially vulnerable part of the system, and
it is recommended than an Uninterruptible Power Supply (UPS) be installed on
this unit. As on the Input rack, the front doors of the rack are sectionalised and
hinged, and may be opened to reveal the MIX and QUINT OUTPUT cards inside.

A series of led's on the cards show the status of the data and power loops. Green
LED's represent the power, and red the data loop. All power, audio and data
loops are supplied via the backplane connection.

BROADWAY System Components 3.5

IInnppuutt CCoonnttrrooll SSuurrffaaccee

HHaarrddwwaarree

∞

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

The input control surfaces house 20 motorised faders, each with associated Mute,
Solo and SEL(ect) switches, and 4-character dot matrix name displays. There are 8
BANKS of faders available on each Input surface, selectable from the Bank
switches in the centre of the fader tray.

Above these, in the Encoder Tray, are some 120 encoders (6 per channel), which
are assignable to perform any rotary channel strip function.

At the top of the Input Surface is the Assignable Channel Strip (ACS). This offers a
single complete input channel strip, and will display and edit the parameters of the
SEL(ect)ed channel. The ACS is removable, and may be carried up to approxi­mately 100 metres away from the console for more effective console setup, allow­ing the user to listen in different areas of an auditorium whilst making changes.

The rear panel of the input surface offers IEC mains input, the main power switch,
voltage selection, fader and main power fuses, serial and barcode number labels,
and the local connector to the ACS.

The Input Surface also has two removable trays in the rear panel : a Power
Supply and a Processor Card. These trays may be removed by the user when ser­vicing or upgrading the surface. The power supply tray, once mated with the
power distribution backplane inside the Surface, organises the routing of appropri­ate power to the relevant areas of the unit.

The processor tray contains the main processing power of the surface, and con­tains all the interconnection ports required for network and system connection:
C3, ESBUS, MIDI IN, OUT, THRU, and BNC network connections.

3.6 BROADWAY System Components

FFuunnccttiioonnaall DDeessccrriippttiioonn -- MMooddeess

Input Control Surfaces operate in one of four modes. These modes dictate the
functions performed by the hardware and software, and are selected via the three
Mode switches in the centre of the Input surface.

Though the Input surface is normally used to control the levels, EQ, and routing of
any twenty input channels, it may alternatively be used as the control surface for
GrAux (Group / Aux) or Matrix outputs, enabling inputs, effects sends, foldback
feeds and group to matrix mixes to be set up from a single control surface. A
fourth mode enables the 20 faders on the Input surface to be used as 20 VCA
master faders, giving the user access to all 20 VCA groups on a single surface.

IInnppuutt MMooddee

The most basic of the four modes is Input mode. In this mode, the surface offers
complete control over up to 8 Banks of 20 inputs (i.e. 160 channels).

AACCSS

The Assignable Channel Strip gives the operator a view of every function of a par­ticular stereo or mono input channel, simply by pressing the SEL (ect) button on
that channel. Dedicated controls are offered for every function, with the GrAux
routing controlled by sixteen groups of controls which may be selected to repre­sent GrAux 1-16 or 17-32. Each GrAux is identified by name by the four-digit dis­plays above each control. The four-band fully parametric EQ is accessed by dedi­cated rotary controls and displays; this may be displayed in graphical form on the
ACS LCD screen. This display is also used to identify the channel being affected by
the ACS, and may be used in conjunction with the four multi-function rotary con­trols and switches for a variety of further facilities.

Panning is provided between any combination of the five main busses, enabling
true LCR, LCRS and quad images to be created. Dual meters are provided for use
where channels are linked in stereo.

The ACS is normally located at the top of each Input Control Surface, but may be
demounted and used remotely, connected to the main surface via a simple multi­way cable. Since the currently selected channel may be changed on the ACS itself,
and the majority of functions accessed from this small panel, this facility enables
the user to take the console into the auditorium, and set up level sends, EQ etc.
whilst seated where it really matters - i.e. where the audience will be.

The channel under the control of the ACS may be isolated from the rest of the
console so that it will not respond to changes caused by recalling new scenes, and
may be locked to prevent another operator from inadvertently selecting a differ­ent channel to act under ACS control.

BROADWAY System Components 3.7

EEnnccooddeerr PPaanneell

This section of the Input Control Surface contains six assignable rotary controls for
each of the channels displayed. Indication of EQ, Inserted Dynamics (2) and Stereo
status are provided, as well as a four-digit display showing the name or number of
each channel. Each row of controls acts on a single function of the twenty inputs,
such as GrAux sends, EQ parameters, or input gain: the function of the rows may
be scrolled using ì and Å. The eight Control Assignment buttons located on
the Master section are 8 user-programmable memory locations, into which the
operator may store 8 favourite arrangements of the Input Surface Encoder Tray
(i.e. 8 Views of chosen functions).

The function of a particular row may be locked to prevent its deselection, and
any channel may be isolated to protect it from scene changes.

FFaaddeerr PPaanneell

The fader panel is the last of the three component sections of the input control
surface. A SOLO button is located below each of the faders. This button operates
much as the Solo on a conventional desk. The primary metering for each channel
is adjacent to the 100mm motorised fader.

The twin seven-segment LED's above each fader display the VCA to which the
channel is currently assigned, or, if multiple VCA's have been assigned, the Primary
VCA (i.e. the lowest-numbered) is shown, and a decimal point appears after the
second numeric.

The SEL(ect) button is used to bring the relevant channel up onto the ACS. This
button is also used for various channel interrogation and configuration functions.
These modes are selected from the touchscreen in the Master Section. The
MUTE button operates as on a conventional console, muting all sends from that
channel, although there is a facility for each GrAux which allows the user to set
that buss to Pre-Mute when it's Pre-Fade. If the GrAux is set as Pre-Mute, the
MUTE switch on the Input strip will have no effect on the pre-fade GrAux sends
from that channel. This is the default setting.

GGrrAAuuxx MMooddee

Normally used in Input mode, if the Input Control Surface is selected to GrAux
mode, the 20 faders become the first 20 (or, on bank two, the last 12) GrAux
master faders, and the six rows of encoders above each fader become the sends
from that GrAux INTO the appropriate matrices.

AACCSS

In GrAux mode, the ACS will control routing of the currently selected GrAux to
any of the Matrix outputs. The 16 send encoders will now carry the names of
the Matrices, and will allow send levels to the first 16 matrices to be set, and the
first touch of [SWAP] will bring up Matrices 17-32. A third, fourth etc. touch of
SWAP will bring up 33-X, where X is the number of Matrix outputs. Insert In/Out,
Fader level, Mute, Metering and Solo will all function as before, but all other func­tions will be disabled. The LCD may be used to change the currently-selected
GrAux. The 5 main output switches and the PAN function will act as before, and
will allow GrAuxes to be routed to the MAIN OUTPUTS.

2 Integrated dynamic processing was not available at the time of writing, but all surfaces have been designed to cope with the

arrival of this functionality should the need arise, either in the Broadway itself, or via remote control (see AppendixA).

3.8 BROADWAY System Components

MMaattrriixx MMooddee

Conversely, in Matrix mode, the 20 faders become the first 20 matrix masters,
and the rotaries display and edit the contributions FROM the appropriate
GrAuxes, scrollable through all GrAuxes as required.

AACCSS

In Matrix mode, the ACS will set feeds to the currently selected Matrix from any
of the GrAux outputs. The 16 draw encoders will allow levels from the first 16
GrAuxes to be set, and the first touch of [SWAP] will bring up GrAuxes 17-32.
Fader level, Mute, Metering and Solo will all function as before, but all other func­tions will be disabled. The LCD may be used to change the currently-selected
Matrix.

VVCCAA MMooddee

VCA mode puts the 20 VCA groups onto the 20 input surface faders, with the first
4 non-zero characters of the VCA group name appearing above the appropriate
faders.

When the input surface is in VCA mode, the ACS may still be used to select and
edit input channels, as long as CHAN HOLD is selected on the ACS.

WWhhyy BBootthheerr WWiitthh MMooddeess??

These modes, combined with the assignability of the console, allow the full audio
path of the largest possible system (100+ into 32+5 into 40+) from input to
matrix output, to be controlled from a single 600 x 800mm footprint Input
Control Surface. This is the extreme, of course, and most users will doubtless
choose to have more Input Surfaces to have greater visibility at any given time, but
the flexibility to have all or just 20 channels visible depending on space, financial
resources etc., allows the designer and producer of a show to work together to
provide a desirable but affordable audio system.

It might be appropriate to have, say, 60 physical faders during the production peri­od, and just 20 when the show is up and running, thus reducing running costs once
the design has settled down. The spare Input Surfaces could then be placed back
into hire stock, and sent out with a different Master Surface for the next event.

BROADWAY System Components 3.9

STEREO STEREOSTEREOSTEREO STEREO STEREO STEREO STEREO STEREO STEREO STEREO STEREO STEREO STEREO STEREO STEREO STEREO STEREO STEREO

1357911131517192123252729312468101214161820222426283032

LCR

+10dB

5

-

-

10

0

−

∞

10

9

7

6

5

4
3
2
1

0

8

10

9

7

6

5

4
3
2
1

0

8

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

+10dB

5

-

-

10

0

−

∞

8

888

888

8

8

8

8

8

888

8

888

8

8

8

8

8

8

8

8

8

MMaasstteerr CCoonnttrrooll SSuurrffaaccee

HHaarrddwwaarree

The Master Surface provides all the necessary hardware for control over the 32
GrAux outputs, the 5 Main outputs and the Matrix outputs (if fitted).

The fader tray contains 8 VCA Master Faders, with 8-character dot matrix name
displays and associated SOLO and MUTE switches. There are also 8 BANK master
switches and 8 Preset switches.

To the right of the VCA faders lies the touchscreen and associated page and cue
control switches. This area is dedicated to the sceneset automation system, and is
described in more detail in the Sceneset Automation section below.

Above the fader tray is the GrAux Fader Panel, which contains 16 Faders for the
GrAuxes and 4 Faders for the five Main Outputs (this will be explained later).

The top section of the Master Surface houses the Metering for the 32 GrAux out­puts and the 5 Main outputs. It also carries the talkback and communications
switches.

3.10 BROADWAY System Components

FFuunnccttiioonnaall DDeessccrriippttiioonn

MMeetteerrbbrriiddggee

This allows metering of all 32 GrAuxes, plus the main outputs. Via a MTX METER
switch, it is also possible to swap the GRAUX meter section to display 32 matrix
outputs. The STEREO led below each pair of matrices denotes that the pair of
GRAUX or MATRIX outputs is linked into stereo.

MASTER MUTE sets all MUTE switches on the system to MUTE ON. This func­tion is disabled in LIVE mode.

LIVE locks out those functions which could be detrimental to a live performance,
such as MASTER MUTE, talkback, solo in place and cue editing.

GGrrAAuuxx FFaaddeerr PPaanneell

These controls allow access to the 32 GRAUX or MATRIX outputs (switchable
GRAUX/MATRIX in banks of 16). The first 16 outputs are controlled via faders,
and the last 16 are available on rotary encoders. Each output has a 4-character
LED matrix display for name information, a MUTE button, a FUNC (tion) button,
and a SOLO button. SOLO operates as on the input faders. The FUNC button
toggles the current function on or off - the function mode being selected via the
four FUNC buttons to the left of the 16 GRAUX master faders. When in INS
mode, for example, the FUNC button toggles the insert IN/OUT for its associated
output. For a full description of the FUNC switch, please see 4.5.2 below.

Talkback and Monitoring functions are available from this panel. All master out­puts, two external inputs plus the listen mic may be monitored, with a self-can­celling or additive law, depending upon function. Talkback may be performed with
an External system, a monitor desk, the audio racks and the comms loop. The
user may set up talkback to desired GrAuxes and Matrices, via the use of the
FUNC button in TB ASSN mode. TALK TO BUSS then arms all the relevant out­puts for talkback.

In addition to the 16 GRAUX faders, there are four Master Output faders, con­trolling outputs 1, 2, 3, and 4/5. The last fader is paired to facilitate stereo sur­round level setting.

The 8 control assignment buttons allow the user to store 8 user-defined arrange­ments of the 6 assignable encoders on the input surfaces.

BROADWAY System Components 3.11

VVCCAA FFaaddeerr PPaanneell

This houses the 8 VCA faders. Of course, being a digital control system, the term
VCA on the control surface is not strictly correct - these are master faders for
links or groups of other faders, and the value of the master fader will be added
to all slave faders. Each input or GrAux fader may be assigned to one or more of
the 20 VCA groups per cue. The seven-segment display above each of the input
faders will show the primary VCA to which that input is assigned - that is, the
lowest numerical value VCA. If the input is assigned to more than one VCA, a
small dot is illuminated in the bottom right-hand corner of the seven-segment dis­play to denote multiple assignment. So, if an input were assigned to VCA's 1 and 3,
the display would show 1.. The details of hidden VCA assignments may be
seen by SEL(ect)ing the appropriate channel, and using the VCA section of the
ACS to display the current VCA status.

It is also possible to set any or all of the 8 VCA faders to generate outgoing MIDI
continuous controller information, to be sent via any MIDI OUT port on the sys­tem (each unit on the network has its own discrete set of MIDI ports).

An eight-character dot matrix display is housed above each of the 8 faders for
name information, or to display the current MIDI continuous controller assigned
to that fader. The SOLO and MUTE switches above the VCA faders will solo or
mute all channels under the control of that fader.

To the right of the 8 VCA faders lies the Cross-Fader (X-FADE). This allows the
user to create a smooth transition from the parameters of one cue to those of
another. This transition may be automated, or performed manually by the user.
Touching the X-FADEr during an automated crossfade will result in the user tak­ing manual control of that fade.

8

8

8

8

8

8

8

8

3.12 BROADWAY System Components

VVCCAA EExxtteennddeerr SSuurrffaaccee

HHaarrddwwaarree

The VCA Extender surface is based on the Input Surface frame, with faders in the
lower tray and a removable meterbridge in the upper section (where the ACS
lives on the Input Surface).

It is intended to offer the power user a number of functions designed to stream­line the programming and mixing of a large system. The hardware comprises:

AA ffaaddeerr ttrraayy,, ccoonnttaaiinniinngg::

l 12 VCA Faders, with associated SOLO and MUTE switches, 8-character

displays for naming, and RANGE and VCA LEDs (all as per Master Surface
VCA section)

l 1 Crossfader with associated X-FADE switch

l [NEXT], [LAST] (covered) and (Pre)VIEW buttons

l 8 Global Bank Select buttons

AA cceennttrree ttrraayy,, ccoonnttaaiinniinngg::

l An embedded PC

l 3.5 Disk Drive

AA mmeetteerr bbrriiddggee,, ccoonnttaaiinniinngg::

l 20 meters, 16 LEDs + peak each with an associated 4-character matrix dis-

play, a POST (amber) LED, a STEREO (GREEN) LED and a MUTE switch
(with RED LED)

l Three 8-character matrix displays sited adjacent to each other, and a pair of

associated function switches (with red and green LEDs)

FFuunnccttiioonnaall DDeessccrriippttiioonn

FFaaddeerr TTrraayy

Broadway allows 20 VCA groups per cue. The VCA faders will function as VCAs
9-20 in the system (VCAs 1-8 are present on the Master Surface faders). The
crossfader is to the right of the 12 VCA faders. Operation of these faders is exactly
as per the Master Surface VCAs.

The [NEXT], [LAST] (covered) and VIEW switches are to the right of the faders,
and are aligned vertically. [NEXT] is at the bottom, then [LAST] (covered) and
VIEW at the top. These switches are illuminated, and function as per those on the
Master Surface.

Global BANK select switches operate as per those on the Master Surface.

CCeennttrree SSeeccttiioonn

The PC, mounted flush with the surface, is for use with the Broadway PC soft­ware, and sockets in the rear panel of the surface will allow for the connection of
mouse/trackball and keyboard. The PC is offset to the left of the centre section to
allow for the use of a mouse or small keyboard to the right. The mounting of the
PC is very low-profile to allow scripts, folders etc. to be laid on top when the PC
is not required.

BROADWAY System Components 3.13

MMeetteerrbbrriiddggee

This offers 20 assignable meters, each with an associated name, pre/post-fade sta­tus and stereo LEDs. The assignments of the 20 meters is stored when a console
snapshot is taken, and recalled as appropriate with each cue.

The meters may monitor signal level for any console Input, or any Graux or Matrix
output. They follow the same law (and, of course, the same value!) as the meter
on the channel being monitored at all times.

The pre/post led is labelled POST, and will only illuminate when the meter on the
channel being monitored has been assigned to post-fade (the exception rather
than the norm, keeping the number of illuminated LEDs to a minimum at any
time).

The STEREO led illuminates when the channel being monitored has been assigned
to be stereo. In this case, the meter shows the peak signal of both meters.

The MUTE switches below the meters will MUTE the appropriate channel. it will
perform the function exactly as would the MUTE switch on the channel itself, and
is directly software-linked to that switch (i.e. will be illuminated when the local
channel MUTE is activated).

The 24-character display bar (i.e. 3 x 8-character displays), will display the current
scene name in run-time, and is used for assignment of the meters when the appro­priate edit mode is selected (via the touchscreen and PC software).

In normal operation, the two function switches beside the display will operate as
[NEXT]/[LAST] switches. [LAST] will be the left function switch, [NEXT] will be
the right function switch. < and > respectively will be on the leftmost and
rightmost extremes of the display to denote the function of the switches. In this
mode, the GREEN LEDs are illuminated.

EEddiitt MMooddee

The assignments of the meters may be set up in one of three ways -

1. Via the touchscreen. A dedicated touchscreen page (on the master sur­face) lists the meters (1-20). The assignment of channels to meters may be
performed in the same way as assignment of inputs to faders - i.e., each
meter number will have a name beside it - the currently monitored chan­nel. Touching the name will bring up a list of all the possible entries, and the
jog wheel / screen arrows will scroll through the options until [EXECUTE]
or CANCEL is pressed.

2. Via the PC. Similar to the touchscreen method, but running on the PC
software.

3. Via the 24-character display on the meterbridge. When the surface is
put into EDIT mode (via the touchscreen or PC software), the leftmost dis­play shows XXXX to denote that this is the meter to be edited. The 24­character display will now show the meter number (in this case 1) and
the name of the currently-monitored channel. The two function keys
beside the display select for editing the meter to the left or right of the cur­rent meter.

The leftmost and rightmost extremes of the display should show < and >
respectively to denote the function of those switches. The RED LEDs should be
illuminated when the user enters EDIT mode. When a meter is active for editing,
the action of SELecting a channel (input or output) on the system will place that
channel on the currently-selected meter. The assignments of channels to meters
will be stored and recalled along with the rest of the cue information.

3.14 BROADWAY System Components

BROADWAY Touchscreens Functions 5.1

BBRROOAADDWWAAYY

TToouucchhssccrreeeenn FFuunnccttiioonnss

5

5.2 BROADWAY Touchscreens Functions

GGeenneerraall SSyynnttaaxx

The touchscreen on Broadway contains all the information required to sceneset
and configure even the largest Broadway system.

Beside the touchscreen are a number of main page switches. These present the
top-level screens of the automation system. Within each of these pages, square,
named buttons are drawn at the bottom of the screen. Pressing these areas on
the touchscreen will press those buttons, the function of which varies from
screen to screen. These are referred to in this document as soft keys, and a
named soft key will be referred to as [NAME], where NAME is the wording
within the soft key.

In some pages, areas of the screen may be pressed for direct access to parame­ters. Once selected, some parameters are set up from a list of options presented
on selection of the parameter, others by moving the jog wheel followed by touch­ing the screen, or simply pressing the jog wheel.

Naming functions are performed via a QWERTY keyboard, which is presented on
the screen whenever appropriate.

Some of the functions described in the following pages are explained in much
more detail in the section Playing Back Cues and Mixing.

BROADWAY Touchscreens Functions 5.3

CCuuee LLiisstt

(BOLD TEXT denotes a hard switch beside the screen, [BRACKETS] denote touch­screen switches)

Once a performance is underway, this is the main operational page of Broadway.

Pressing [REPLAY SCOPE] will bring up a page showing which elements of the con­sole are to be recalled with automation. Once cues have been created, the user may
select a scope for each cue independently by toggling each parameter on or off
(achieved by touching the appropriate parameter). Fader positions, for example, may
be eliminated from some or all cues.

The replay scope areas available for selection or deselection are:

Channel: Source A/B, Phantom Power,Gain

Faders + Mutes Fader levels and mutes

Insert + Pre/Post Insert switch and Pre/post EQ switch
Routing Main Outputs & Pan

Sends Sends to all GrAuxes

EQ EQ settings and switches, including filters

5.4 BROADWAY Touchscreens Functions

Graux: Faders + Mutes Fader levels and mutes

Inserts GrAux inserts

Routing Main Outputs & Pan

Sends Sends to all Matrices

Matrix: Faders + Mutes Fader levels & mutes

Miscellaneous: VCA Faders Fader levels

VCA Mutes Mutes

MIDI + Events MIDI messaging and eveny relays

I/P Surface Assignments Assignments of inputs to faders

BROADWAY Touchscreens Functions 5.5

CCuuee PPrreesseettss

[PRESET] will bring up a list of the 8 CUE PRESET switches, which appear physi­cally on the left hand side of the Master Surface. Against each of these entries in
the list is the number and name of a cue. Pressing the cue name will bring up a list
of all the cues on the system, and one of these may then be chosen for assignment
to the appropriate Preset switch.

The Preset switches just recall the cue - no more, no less. They are, of course,
autocancelling, and cannot be layered (just as only one cue may be recalled to the
system at any time).

CCrreeaattee

This page allows the user to remove the highlighted cue permanently from the
Cue List. Since this function cannot be undone, the console will ask the user to
confirm deletes.

Cue Presets

preset

1
2
3
4

cue #

1.0

2.0

3.0

4.0

cue name
all muted
opening

set change...
scene 2

clear
entry

cue

list

5.6 BROADWAY Touchscreens Functions

MMIIDDII EEvveenntt LLiissttss ((MMEELL''ss))

Pressing [MIDI PARAMS] on the cue list page will bring up the MIDI programming
page.

The MIDI Event Lists are the heart of the MIDI control system. Each cue carries an
associated MEL; if the MEL contains anything, an M appears to the right of the
timecode in the listing on the Cue List page. A typical MEL would be:

CCUUEE xx..xx

EVENT TYPE: MIDI PORT /CHAN: DATA.: NAME:

1 CC IS1:1 07 Main Volume

2 PGM IS1:15 42 Big Rev

3 SYSEX IS2:n/a NEWREV.syx

4 PGM MS:14 12 Chorus

5 NOTE AR1:3 G#3 TRN SMPL

All surfaces and racks on the Broadway network have their own independent
MIDI IN, OUT and THRU. MIDI information can be sent to any of these ports
exclusively, so any Broadway system will actually support up to X x 16 MIDI
channels, where X is the number of network devices.

A new MIDI event may be added to a cue at any time. A requestor box will
appear, showing all the possible MIDI event types available. Each event may have
an associated name, which is solely for user notes, and has no MIDI function.

Pressing the NEW MIDI EVENT switch on the touchscreen brings up a callout box
containing a list of all possible MIDI event types. Pressing one of these options will
select that type of event, and the desk will prompt the user for an output from
which to send the event. This may be any unit on the system: all surfaces and racks
have their own MIDI IN, OUT and THRU.

Once the output has been selected, the system will show the new event in the list.
The console still needs more information: pressing the value in the data column
allows the user to set up the value of the event, i.e. CC number if the event is a
continuous controller, NOTE value (including velocity) if the event is a NOTE
ON, etc.

Finally, a NAME may be added to the event by pressing the entry in the NAME
column.

PPrrooggrraamm CChhaannggeess

A Program change value of 0-127 may be sent from any of the units on the net­work. This can be useful for recalling patch, or memory locations in external
equipment such as reverb devices, samplers or MIDI playback units.

BROADWAY Touchscreens Functions 5.7

NNootteess

NOTE ON data types send a MIDI note value to the OUT port on the specified
port and channel. The default port is that on the Master Surface (MS). The note
number and velocity (shown as real piano keyboard note values) are specified in
the NUMB. column.

CCoonnttiinnuuoouuss CCoonnttrroolllleerrss

CC events may be generated by any or all of the VCA master faders. A dedicated
VCA fader is required for each Continuous Controller. This can be assigned by
selecting the event type with the appropriate VCA as a master, e.g. [CC on VCA
2]. The VCA name display blanks in this mode.

[[TTXX]] ((TTrraannssmmiitt))

This page sets up the Transmit settings of the console. The MODE may be either
GLOBAL or CUE. In Global mode, the console will Transmit a single Program
Change (the number of which will correspond to the sequence number of the
recalled cue [0-127]) from all MIDI ports each time a cue is recalled. The Program
change will be sent on the channel defined in the TRANSMIT CHANNEL para­meter ([1-16]).

Global Mode requires little setup time on the part of the user, and is useful for
quickly driving a rack of MIDI gear, as it will recall a different patch on all outboard
MIDI gear per cue.

If the external MIDI equipment has a Program Map, this may be used to map the
incoming Program Changes to Patch locations, so the appropriate patch for each
cue may be set up.

In Cue mode, the console will apply the MIDI Event List (MEL) associated with
each cue.

5.8 BROADWAY Touchscreens Functions

[[RRXX]] ((RReecceeiivvee))

Via the RX page, it is possible to assign a receive channel for the console - i.e. the
channel on which Broadway will listen for program changes from some external
master device. The value may be 1-16 or OMNI (any channel).

Incoming program changes may be mapped to cues via one of the program maps.
These program maps are constructed in the MAP page, and Broadway can store
16 of these maps at any one time. When a new MAP number is engaged, that MAP
will be automatically USED.

SSyysstteemm EExxcclluussiivvee ((SSYYSSEEXX))

A sub-page of [RX], the [SYSEX LIBRARIAN] allows MIDI bulk dumps to be sent
from any external device into the MIDI IN. The system places this information in
memory, and asks for a filename. The file extension will be .syx.

In the MEL, the user can assign any .syx file to be sent out (i.e. associated with a
particular cue). Since Sysex carries with it a unit ID number and manufacturer
ident, there is no need to implement a channel assignment for this function.

Any .syx file can be selected for instantaneous transmission, should the user wish
to load a whole new setup into the outboard systems.

A single .syx file may also be tagged to a project file, which would contain a
sequential dump of each rack unit in the chain, allowing a standardised rack to be
reloaded identically for each leg of a tour or for a new production of an estab­lished show.

To store a SYSEX dump, connect the MIDI OUT of the device to be dumped to
the MIDI IN of the Master Surface. Press [SYSEX LIBRARIAN] in the MIDI [RX]
page. The screen will now show a list of the SYSEX files on the hard disk, and
three additional switches. The new switches are:

[RECEIVE SYSEX] - Prepares the console for an incoming SYSEX dump. The
screen shows an empty rectangle which fills to show progress, and offers an
[ABORT].

[SEND SYSEX] - Sends the currently-selected file from the Hard Disk to the MIDI

OUT.

SYSEX Librarian

num. name size (bytes)

tx

rx

receive

sysex

send

sysex

delete
sysex

mel

map

BROADWAY Touchscreens Functions 5.9

[DELETE SYSEX] - Removes the selected SYSEX file from the Hard Disk. The sys­tem asks for confirmation of this procedure, as the delete function cannot be
undone.

MMaapp

This page allows the user to define and edit a MIDI PROGRAM MAP for incoming
Program Changes. This can be useful if an external device has limited MIDI imple­mentation, and can only send fixed Program Changes per cue. These may be
mapped in the Broadway to recall the desired Cue at each point.

Pressing MAP on the MEL page brings up the current remapping assignments (list­ed by PGM CHG number), which dictates the cue to be recalled by different
incoming MIDI program changes. Pressing a cue name allows a different cue to be
assigned to the appropriate PRG CHG. SET MAP TO DEFAULT will assign all
cues in the cue list sequentially to PRG CHG numbers, starting at 0, and ending at
x-1, where x is the number of cues.

CCrreeaattee

This is where cues can be created, deleted and edited.

Pressing [Create It] at any time will snapshot the console position and store it as a
new cue at the end of the list with a default name of Unnamed Cue. Pressing the
"name" box to the top right of the screen will bring up a keyboard, on which the
cue may now be named.

Pressing [Cue List] will return the user to the CUE LIST screen.

Pressing [Update Cue] will overwrite the currently-highlighted cue with the cur­rent console setup.

See Creating Cues for more information on the use of this screen.

MIDI Map

pgm

1

0

2
3
4

cue #

1.0

1.0

1.0

1.0

1.0

name

all muted

all muted

all muted
all muted
all muted

tx rx mel map

map 1 set map to default

5.10 BROADWAY Touchscreens Functions

FFaaddeerr AAssssiiggnn

This page allows assignment of Names to Inputs, Outputs and VCA Groups, and
then assignment of those items to Faders. It also allows assignment of Input Faders
to VCA's.

When Fader Assign is first accessed, it will default to the current or last
recalled CUE. Making changes at this point will edit the current desk setup, which
may then be written to the hard disk with UPDATE CUE (this switch will only
become available once changes have been made to the Fader Assignments).

It is possible to change the setting of other cues from within this page, but the cue
to be edited MUST be EXECUTEd before editing is possible. To recall a cue
from within the Fader Assign page, press the cue name at the top right of the
screen, and scroll through the cue list. When the desired cue is shown, press EXE­CUTE. The cue will be recalled to the desk, and may then be edited. To return to
the last recalled cue (i.e. the cue from which the Fader Assign page was entered)
without recalling any other cue, press CANCEL.

NNoottee::

Any changes to Fader or VCA Assignments will NOT be saved until the user per­forms a [SAVE PROJECT] or a [SAVE AS].

There is a fundamental concept which is the key to understanding Broadway fader
assignments - the fact that PHYSICAL INPUTS (i.e. rack elements) are named, and
NOT the faders. Inputs are NAMED, then NAMES are assigned to FADERS. So,
when assigning faders, the console will ask the user to select a fader, then give a
list of all available NAMES. Every input will either have a user-defined name, or its
name will default to being simply its rack and input number.

BROADWAY Touchscreens Functions 5.11

FFaaddeerr // NNaammee // IInnppuutt

Pressing Fader Assign will bring up a list of all Input faders on the system, delineat­ed by BANK. A fader may be selected for editing either by pressing SEL on that
channel, touching the fader, or using the Jog wheel and touchscreen.

NNaammiinngg IInnppuuttss

This section describes naming of inputs - if names are not required, skip directly to
Assigning Faders below, as the console will simply use the default names (derived
from the physical location of the input).

Each input on the Broadway system may be given up to eight names for any pro­ject, and may therefore handle up to eight different alternating sources in the same
physical connector (e.g. different people using the same radio mic, etc.). This abili­ty to handle up to eight names is relevant to a special feature of Broadway called
Offset Groups, which will be explained in the Automation section below.

1:01

1:03

1:01

1:03

1:02

1:04

1:02

1:04

Rd01

Rd03

Rd03

Rd01

Rd02

Rd04

Rd04

Rd02

Ian

Bob

Bob

Ian

Kris

Andy

Andy

Kris

Jo

Mike

Mike

Jo

Paul

Tim

Tim

Paul

CUE 1

CUE 2

Fader 1

Fader 1

Fader 2

Fader 2

Fader 3

Fader 3

Fader 4

Fader 4

Fader 5

Fader 5

Fader 6

Fader 6

Fader 7

Fader 7

Fader 8

Fader 8

Fader 9

Fader 9

Fader 10

Fader 10

Physical inputs Offset Groups Fader Assignments

Note that the 8 "Offset Group"
names for each physical input
do not change from cue to cue,
but that the offset groupusedin
each cue can change

(BANK1)

5.12 BROADWAY Touchscreens Functions

To name inputs, simply move the cursor to any fader on the touchscreen, and
press the entry in the Input column. The system will then ask which physical input
the user wishes to select, by asking for the Audio Rack number and the physical
input number. It will then present a list of the eight names associated with that
input. Turn and press the jog wheel, or touch the screen to select one of these.

At this point, the user may either edit the current names, or create new ones.
Selecting one of the eight names will bring that name into the edit box at the bot­tom of the menu. Pressing the edit box will bring up a keyboard via which a new
name may be entered. Names may be up to four characters in length. Once the
appropriate names have been entered for that input, selecting one of the names
again will select that name (and therefore the associated input) for use on the cur­rent fader.

Repeating this process for all inputs on the system will give names to every physi­cal input. Although time-consuming in the short-term, this process will make fader
reassignments much easier in the long term, since the user can forget completely
about physical inputs, and just refer to inputs by their name.

Bear in mind that the process of naming inputs may be carried out via a single
fader. Once an input has been named, simply press the input column again on the
same fader, and select a different input.

NNaammiinngg OOuuttppuuttss

The naming of outputs is performed in a similar manner to the naming of inputs,
except that the list is always in the order: GrAux 1 through GrAux 32. This is
because the GrAuxes cannot be reassigned to different faders.

Pressing the current name of the required GrAux will bring up a list of the 8 offset
groups associated with that GrAux. A different offset group may be selected at
that time by rotating the jog wheel, then pressing the required offset group, which
may optionally be renamed.

AAssssiiggnniinngg FFaaddeerrss

Output Map

map for cue 1.0

channel name m/s ins
graux 1 gx01 m out

graux 2 gx02 m out
graux 3 gx03 m in

cue: all muted

input

map

BROADWAY Touchscreens Functions 5.13

Once a fader has been chosen (selected on the touchscreen), pressing the FADER
column will bring up a list of all names available on the system, i.e. up to 8 per
input. The Jog wheel will scroll through these, until it is pressed down, at which
point the currently-selected name is put onto that fader. If no user names have
been defined, the list of names will simply be a list of all the inputs, sorted numeri­cally.

If the inputs have been named in advance (see above), then the process of assign­ing inputs to faders is as simple as selecting a name from a list, and the physical
location of the input is no longer an issue (as the console knows this information
already).

Pressing the NAME entry will bring up a list of the 8 Offset Groups/Names asso­ciated with the current input. A different name may be selected from the list by
touching the screen.

SStteerreeoo CChhaannnneellss

It is possible to link two adjacent mono channels in an input rack for use as a
stereo pair.

This is achieved by pressing the m in the mode column of the appropriate chan­nel, which will then become an s denoting stereo. The touchscreen will then
show the linked partner with the use of brackets, so the same two channels
appear on one fader. The first input shown is the master input for the stereo
pair, and will appear on the Input surface. The second input shown (in brackets) is
the slave, and, if that input is assigned to an Input surface location, it will not show
on the fader tray, and is effectively a wasted fader assignment, as the Master of
the pair will allow all the required functionality of the channel.

All ACS functions performed on the Master channel are automatically copied to its
partner, except for the PAN control. When a channel is defined as stereo, the
PAN on the ACS becomes a BALANCE control, and dictates the relative levels
derived from each of the mono inputs. Since the SLAVE channel cannot be
assigned to a fader, it cannot be SELected.

Routing to a GrAux from a stereo channel results in the stereo pair being sent in
mono to the GrAux with a 3dB drop in each leg to maintain the desired level.
Routing to the Main outputs will result in the Left leg of the pair being sent to OP1
and 4, and in the Right leg being sent to OP2 and 5.

AAssssiiggnniinngg VVCCAAss

The term VCA is used because the faders on the Master section operate in the
same way as master VCA group faders on a conventional desk. The VCA control
fader works in a conventional way, and has a normal fader scale marked in dBs.
The position of the VCA fader is added to the slave faders. The slaves themselves
will not move, but the value of the VCA Master Fader is added to all appropriate
slaves. Assigning an input to a VCA is therefore like adding a second fader into the
channel path in series with the first, but the maximum gain applicable from fader
combinations cannot exceed +10dB (see below).

The VCA Master Faders are motorised, and their position may be stored in the
automation system along with everything else. They are scoped out of recall by
default.

Just as for other parts of the system, the VCA faders may be removed from recall
via the Scope function (see Replay Scope below). These faders may then be
viewed as Live offsets of stored fader positions. The advantage of VCA groups
over ordinary audio groups is that changes to VCA levels will affect post-fader
sends from any slave input channels, and the MUTE and SOLO switches are linked
in logic to those on the slave channels.

See Automationbelow for information about how VCA fader positions affect
sceneset recall.

5.14 BROADWAY Touchscreens Functions

There are 8 VCA control faders, but the system supports up to 20 control groups
per cue. The standard Master Surface alone can only handle 8 control groups. The
full 20 control groups can only be controlled via the VCA mode on the Input
Surface, or via the optional VCA Extender Surface.

VCA assignments are performed in the Fader Assign Page. Pressing [VCA] will
bring up a list of the current VCA groups with all slave faders listed beside each.
Pressing the slave list on any VCA will bring up a list of all possible slaves which are
the CURRENT offset groups on each channel. The Jog wheel will navigate around
the list of available slaves, and pressing the wheel at any point will toggle the cur­rent slave on or off for the selected VCA.

Pressing DONE will return to the VCA assignment screen. At this point, the new
settings have been assigned to the cue, but not to the desk. It is necessary to go to
the CUE LIST screen, move the cursor to the last recalled (or current) cue, and
press [EXECUTE] to recall the cue along with its new VCA assignments. This will
bring the new assignments to the desk.

It would be a very slow process if a channel had to be assigned to a VCA in a num­ber of existing cues. Broadway gets around this problem with automatic assign­ments.

If a channel is assigned to a VCA in a particular cue, then this assignment will auto­matically be written to all subsequent cues, until it reaches a cue in which another
specific assignment has been made.

For example, let us presume that the SNRE channel has been assigned to VCA 2
in Cue 5. Suppose that the same channel needs to be under the control of VCA 1
in cues 1 to 4 inclusive. Adding SNRE to the slave list of VCA 1 in Cue 1 will now
have that effect, as the system will automatically update the entries for Cues 2, 3
and 4 (because there were no previous assignments there). It will, however, stop
at Cue 5, because it recognises that an assignment was previously made at this
Cue.

On the other hand, if SNRE was only required to be under the control of VCA 1
in Cue 1, then it will need to be removed from Cue 2 manually, which setting (i.e.
off) will now be written through Cues 2, 3 and 4 automatically.

VCA Master faders may be given names of up to eight characters in length by
pressing the VCA name area, and entering a name via the QWERTY keyboard.

VCA assignments are unique to each Offset Group. That is, if Offset Group 1 of an
input is assigned to a VCA in a cue, and the second Offset Group is then chosen
instead, that channel will no longer be under VCA control. At this point, the slave
channel must be reselected via the VCA MAP page. Once the list of possible slaves
appears for a VCA, the name of the second Offset Group for that input should
now be offered in place of the first option, as this is now the CURRENT Offset
Group for that input.

BROADWAY Touchscreens Functions 5.15

VVCCAA LLEEDDss aanndd SSwwiittcchheess

The MUTE switch above the VCA will trigger the MUTEs on all slave channels.
When the MUTE is removed from the VCA master fader, the slave channels will
be returned to their status before the VCA MUTE was triggered (i.e. MUTEd if
they were muted, open if they were not).

Note that channels muted via a VCA master fader cannot be unmuted locally on
the channel. Muting a slave from a VCA master effectively locks out the local chan­nel MUTE switch (above the SELect switch).

5.16 BROADWAY Touchscreens Functions

SSeettuupp

Setup contains all global configuration parameters, along with user preferences
and Disk handling.

DDiisskk HHaannddlliinngg

[DISK] brings up the disk access page.

FFiillee TTyyppeess

There are three types of disk file: .PRJ, .SYX and .ENV.

.PRJ files are the main project files, and contain all the automation da

.SYX files are System Exclusive files. These are manufacturer-exclusive MIDI files
which allow a user to dump the memory contents (parameter settings) of a MIDI
device over the MIDI link. A single System Exclusive dump may be attached to any
project, and will be automatically sent to the MIDI ports when the main associated
project (.PRJ file) is loaded.

.ENV files contain the user preferences. Using these files, the operator may save
their preferred operating environment, including touchscreen configuration pref­erences, to a floppy disk, and carry it with them. Whenever using any Broadway in
the future, it will then be possible to load their own working environment onto
the system without affecting the stored automation data.

BROADWAY Touchscreens Functions 5.17

SSaavviinngg

[SAVE AS] allows the user to save the current console setup as a new project file.
The console will prompt for a file name, which may be up to eight characters in
length. Note that the current file type will be taken into account when saving.
Ensure that .PRJ (project file) is selected if the whole project is to be saved.

[SAVE PROJECT] will save the current desk project to disk, ensuring that all
touchscreen-programmed parameters are saved to the hard disk. Cue Data (i.e.
channel parameters but NOT VCA / Surface assignments) is stored automatically
whenever a cue is created or updated, but a SAVE or a [SAVE AS] (see above)
must be performed if VCA / Surface assignments are to be permanently stored.

LLooaaddiinngg

[LOAD] will present a list of all project files on the current drive. The current
drive can be changed by selecting the box containing the drive letter (C: or A:) at
the top of the screen. C: is the internal hard disk. A: is the floppy drive.

FFoorrmmaattttiinngg

Disks may be formatted using the [FORMAT] command. TREAT THIS FUNC­TION WITH GREAT CARE. Formatting will erase all data on the selected disk,

and this information is irretrievable. Particular care should be taken when format­ting Floppy disks - always ensure that the A: drive is selected, and that the C: drive
is not about to be erroneously formatted, as this could be very disappointing
indeed.

CCrreeaattiinngg AA NNeeww PPrroojjeecctt

The [NEW PROJECT] command will generate a new .PRJ file on the Hard Disk,
which may then be named.

CCooppyy ttoo FFllooppppyy

Copy to Floppy will take the hilighted project and copy it to the Floppy Drive for
backup and later retrieval. When the A:\ (floppy) drive is selected as the current
drive, this switch will become simply COPY, and will copy the hilighted project
from the Floppy Drive to the Hard Disk.

Note that Projects cannot be run directly from the A:\ (floppy) drive - they must
first be copied to the C:\ drive (hard disk).

5.18 BROADWAY Touchscreens Functions

GGeenneerraall SSyysstteemm CCoonnffiigguurraattiioonn aanndd PPrreeffeerreenncceess

[CONFIG] allows the user to set up preferences for system operation.

MMOONNIITTOORR SSOOLLOOSSAAFFEE

Pressing any SOLO switch on Broadway will, by default, over-ride the
Headphones and Monitor Output with the SOLO signal.

However, in some applications, it may be desirable for the Monitors to remain
unaffected by SOLOs. When MONITOR SOLOSAFE is activated, the console
will over-ride ONLY the Headphones with the SOLO signal, and the Monitor path
will pass as before.

SSOOLLOO SSEELLEECCTTSS

This feature is a one-way link between the SOLO switch and the SEL(ect) switch.
Usually, the SOLO and SEL(ect) functions on Broadway are discrete from one
another, but when SOLO SELECTS is activated, pressing the SOLO switch on a
channel will trigger the SEL(ect) switch on that channel also, but pressing the SEL
switch will NOT trigger the SOLO.

This can be useful when SOLOing the audio for troubleshooting purposes, as the
local ACS is automatically switched to monitor that channel without a second key­press.

AAuuttoo RReennuummbbeerr

[Auto Renumber] will renumber the whole scene list whenever a cue is inserted
into the list (see Renumbering in the Automation section below). This means
that the user need not worry about running out of insertable cue availability, and
is useful during pre-production, where precise cue numbering is usually not as crit­ical as setting up some starting points.

CCEENNTTRREE MMOONNIITTOORR

The CENTRE MONITOR switch allows true LCR Monitoring to be performed. It
has an effect only when the Monitor Source switches on the Master Surface are
set to monitor OP1, OP2 and OP3.

In usual operation, when OP1/2/3 are selected as the Monitor source, OP3 is sent
to both Left and Right Monitor outputs.

However, when CENTRE MONITOR is selected (and OP1/2/3 is still set as the
Monitor source), program material sent to the Centre buss (OP3) is directed to
the CRM C(entre) output on the rear of the Master Surface.

UUppddaattiinngg SSooffttwwaarree ((SSeeee SSeeccttiioonn 99 -- SSooffttwwaarree UUppggrraaddeess))

The [Software Update] page allows the user to load new software releases from
floppy disks onto the master surface (via the integrated 3.5" floppy drive). These
may then be downloaded over the network to the other Broadway units (or
nodes).

Pressing [Software Update] brings up the Update screen. This shows the unit
type, current version number and network ID of all units found on the network.

Loading new software is a two-stage process. The software has to be copied to
the Master Surface, then distributed through the network.When new software is
provided on floppy disk(s), placing the disk(s) in the Master Surface drive, and
pressing [Load Floppy] will copy all of the data over to the Master Surface.
Messages on the screen will show what the Master Surface has found on the disk.
There are different files for each surface and rack type, and system data.

The user may then choose to send the appropriate new version to one unit on the
network (using the cursor followed by [Upgrade Software On Single Node]), or
upgrade ALL units at the same time (by pressing [Upgrade All Nodes]). After this
is complete the console should have its SRAM cleared and be rebooted (see
below).

CClleeaarriinngg SSRRAAMM

[Clear All SRAM] removes all data from the memory of all network units. It does
not format the hard disk. Broadway units have battery-backed static ram, which is

memory that survives powering down. This means that when a network unit is
switched on, it already knows what it is , and what it expects to find on the net­work.Before rebooting after a new software version is loaded, the SRAM should
be cleared in all devices using [Clear All SRAM], to ensure that the new software is
loaded onto a clean system.

RReebboooottiinngg AAfftteerr SSRRAAMM CClleeaarr

After an SRAM clear, the various parts of the console must be started up IN
ORDER if the system is to boot successfully. The order is:

First Input Rack

Second Input Rack (if installed)

Third Input Rack (if installed)

Output Rack

First Input Surface

Second Input Surface (if installed)

Third Input Surface (if installed)

Master Surface

VCA Extender Surface (if installed)

At least 30 seconds should be left between starting each unit and the next.

BROADWAY Touchscreens Functions 5.19

5.20 BROADWAY Touchscreens Functions

SSoolloo TT//BB

This gives access to the Solo, Talkback and Oscillator parameters of the desk.

SSoolloo,, MMoonniittoorriinngg aanndd HHeeaaddpphhoonneess

Solo signals will be sent to the Monitors and the Headphone system, dependent
upon the settings of the Monitor and Headphones parameters described below in
Monitorsand Headphones. Solo overrides Monitors and Headphones.

l The Solo system may operate in one of a number of modes:

l AFL (After-Fade Listen - Solo picked up after the fader for the associated

channel)

l PFL (Pre-Fade Listen - Solo picked up before the fader for the associated

channel)

l SOLO IN PLACE (see below)

l DIM SOLO IN PLACE (see below)

SSoolloo SSwwiittcchheess

In addition to the various Solo modes, there are three types of SOLO switch oper­ation, which define how SOLO switches on the control surfaces interact. The
switch operation modes are:

Momentary (Only operates whilst switch is held)

Latching (Additive)

Interlocking (Automatically cancels any previous SOLO selection)

SSOOLLOO IINN PPLLAACCEE ((SSIIPP)) ooppeerraattiioonn

In this mode, when the [SOLO] button on an input is pressed, all Input channels
except for the soloed one are muted. SIP is not possible on GrAux and Matrix
channels: the SOLO switches on Graux and Matrix outputs are disabled when SIP
mode is selected.

Rather than muting the other channels, the SIP function may optionally DIM those
channels (DIM SOLO IN PLACE mode). The attenuation applied is variable, and
set in the SOLO/TB touchscreen pages, using the slider in the middle of the page.

MMoonniittoorrss

On the Master surface, there are four Main Output monitor switches - OP1, OP2,
OP3, OP4/5. In addition to these, there are four Intercancelling main monitor
sources - MONO, EXT1, EXT2 and Listen Mic. When any of the latter four is
selected, any other monitor switches selected will be cleared.

BROADWAY Touchscreens Functions 5.21

The OP switches operate slightly differently. OP1 and OP2 are linked, and cannot
be independently selected. OP3 may be toggled independently, with the results
shown in the table below.

Switch L+R

LR

1/2 1 2

1/2/3 1+3 2+3

4/5 4 5

MONO 1,2,3,4,5 1,2,3,4,5

EXT1 EXT1L EXT1R

EXT2 EXT2L EXT2R

LSTN MIC LISTEN LISTEN

MIC L MIC R

MMoonniittoorr SSaaffee

The Monitor Safe switch on this screen protects the Monitor outputs from SOLO
selection (which would usually override the Monitoring). The SOLO signal will still
appear on the PFL and Headphone outputs.

HHeeaaddpphhoonneess

The PHONES 1/4 TRS Jack is a stereo amplified headphone level output. PFL 1, 2
and 3 are stereo, and appear on 5-pin Neutrik XLR line level outputs.

When no SOLO's are selected on the system, the default signal carried by the
phones will be whatever is selected via the front panel switches.

The switch laws are as per the monitor in L+R mode (see above), with the excep­tion that the Headphones can also be selected to Follow Monitor. If this is select­ed, then the headphone source selection will follow the selection made for the
monitors.

The 1/4 TRS PHONES socket and PFL 1 will carry the default signal (i.e. what­ever is selected on the PHONES switch panel on the Master surface), until such
time as a SOLO is pressed, or return talkback comes into the console.

When a SOLO is pressed, the mono / stereo PFL/AFL signal is fed to the PHONES
and to PFL1.

TTaallkkbbaacckk

There are a number of talkback possibilities on Broadway. The switches on the
upper part of the Master Surface control the talkback from the console - talkback
into the console, or return talkback is automatically routed into the primary
headphones and the monitors.

Input to the talkback system is via the female XLR connections on the front and
rear of the Master Surface. These connections are linked, and it is therefore only a
matter of convenience which connector is used.

All talkback switches are momentary - that is, they will only be armed while they
are held.

EXT TALKBACK routes the talkback signal to the EXT TB OUT on the output
rack. When this switch is depressed, any signal appearing at the EXT TB IN on the
output rack will be sent to the monitors and headphones.

MON DESK routes the talkback signal to the MON TB OUT on the output rack.
When this switch is depressed, any signal appearing at the MON TB IN on the
output rack will be sent to the monitors and headphones.

TALK TO RACK routes the talkback signal to the rack headphones, the jack for
which appears on the front panel of the output rack.

TALK TO BUS routes the talkback signal to any selected Graux, Main or Matrix
outputs. Outputs need to be armed for this function to operate. This is done by
pressing the T/B ASSN function switch in the centre of the Master Surface, then
pressing the FUNC switch on the required outputs so that the LED is illuminated.
No return Talkback is activated with this function - it is output only.

DDiiaaggnnoossttiiccss

DDeetteecctt NNeettwwoorrkk

The DETECT NETWORK page triggers a complete network scan, and reports
its findings to the user. This page is useful for two reasons: it allows the user to
check that all devices are correctly detected by the network, and also allows the
user to compare current System size with the size of the loaded Project.

The screen is divided into three columns - System Details, System, and

Project.

System Details lists the item categories which the console is expecting to find.

The System column shows the quantity of each component FOUND running cur­rently on the network.

Project shows the quantity of each component present WHEN THE PROJECT
WAS CREATED - that is, what the console is EXPECTING to find to run this
Project as it was intended to be run.

Although the console will, of course, run a Project with fewer CONTROL surfaces
on the system than were present upon Project creation, it will NOT play back a
Project if the AUDIO configuration is not IDENTICAL to the system on which it
was created.

So, for example, a 40 Input, 20 Matrix, 2 Input Surface Project will run fine on a 40
Input, 20 Matrix, 1 Input Surface System (because only the Control Surface ele­ments have changed), but NOT on a 60 input, 20 Matrix, 1 Input Surface System.

5.22 BROADWAY Touchscreens Functions

BROADWAY Touchscreens Functions 5.23

AAuuddiioo DDiiaaggnnoossttiiccss

The Audio Diagnostics page allows the user to configure the console to route
audio through any or all Inputs to any or all Outputs (including Matrix Outputs
where appropriate), and to report its findings as a file which can be copied to
Floppy for Email to Soundcraft or simply for reference.

In addition to the audio continuity, Pre/Post Fader send levels, EQ performance
and insert points may all be included in the test.

NB: Note that in order to perform these tests, Broadway routes the oscillator on
each input card through the channel audio, onto the busses, and out of the GrAux
and Matrix outputs. It is highly recommended that all amplification downstream of
Broadway (house amps, monitoring amps, etc.) be muted for the duration of the
audio test.

The system will store not only the results of any Audio Tests run, but also the
Configuration of each test, so that the same check may be easily rerun as many
times as required. This is particularly handy when troubleshooting, as it allows the
operator to implement a fix for the problem at hand, then rerun the original test
and compare the results to measure the effectiveness or otherwise of the solution.

NEW TEST begins the process of creating a new audio check, and brings up the
necessary dialogue boxes which request information from the user about which
inputs and outputs are to be tested.

RERUN TEST will restart an existing test, and will store the results with the same
name as before, but with a new timestamp.

READ REPORT brings up the report file for the selected Test.

COPY TO FLOPPY will copy the report file for the selected test from the Master
Surface to the Floppy Drive.

CCrreeaattiinngg aa NNeeww TTeesstt

Pressing NEW TEST brings up the Input dialogue. This allows selection of the
Input Channels to be tested.

5.24 BROADWAY Touchscreens Functions

CLEAR ALL will remove all highlights, Cancel returns to the AUDIO DIAGNOS­TICS page.

When the required Inputs have been selected, pressing DONE will step on to the
Output Dialogue.

Select the required Outputs using the same method as the Input dialogue.

Pressing DONE when the required Outputs have been selected will bring up the
AUDIO TEST OPTIONS page.

At this point, the user may decide to include in the test or ignore the EQ, Inserts
and Pre/Post-fade sends. Pressing any of these options will toggle them into / out
of the test. Pressing CONFIRM will bring up the QWERTY keyboard for naming of
the Test.

The user may now name the Test with any combination of characters (e.g. Test
IP3&4 to all OPs), and then OK will run the test, once the User has answered
YES to the Are you sure dialogue.

BROADWAY Touchscreens Functions 5.25

DDuuaall NNeettwwoorrkk

Although Broadway requires just a single Ethernet network to operate, the con­sole may actually be connected via 2 discrete parallel networks - A and B. Only
one will actually be operating at any given time, with the other standing by as a
backup. The console continuously polls the backup network even though main
operation is via the primary network.

NB: at this time, the PSU sensing is not active. The screen will ALWAYS therefore
show PSU 1 & 2 as ok, but that is not necessarily the status of the PSU.

If the console detects a problem of any kind on the current network, it will auto­matically switch to using the backup network. The user will be alerted to this by
way of a flashing display on the CUE LIST and CREATE pages. The words Check
and Status will appear in the top left and top right areas of the touchscreen
respectively. Note that at this point the user may choose to ignore the warning
and continue to operate - the console will run as normal, but the warning will
remain visible until the user selects DIAG then SYSTEM ERRORS.

Figure 1 shows the SYSTEM STATUS screen. In this example, all nodes are func­tioning correctly. The console is aware of various types of network failure:

l An individual port failing on a single node (i.e. one port down on one node)

l An individual node failing (i.e. both Net A and Net B down on one node)

l A whole network path (i.e. A or B ports on all nodes) going down; usually

because the 50( termination has failed

l Multiple nodes failing (both ports) on either network

l Multiple nodes failing (single port) on either network

5.26 BROADWAY Touchscreens Functions

EXAMPLES:

Figure 2 - One port on one node is down; probably a hardware problem with that
port

Figure 3 - Both ports on one node are down; the CPU in that node has failed to
respond for some reason

Figure 4 - One leg of the Dual network has failed completely; probably loss of ter­mination at one end, or a short circuit in the cabling

BROADWAY Touchscreens Functions 5.27

AACCTTIIVVIITTYY IINNDDIICCAATTOORRSS

LED activity : each port on every node of Broadway has two LEDs - one red
(Status), and one green (Data).

A flickering green LED denotes that Data is being passed through the port.

The red LED is a Status indicator. Flashing illumination denotes that the associated
port is in standby as a backup, and is functioning correctly. Remember that the
console continuously polls the backup network even though main opration is via
the primary network.

Regular polling means that the the desk can alert the user to a failure in the backup
network before it is required (and fails...) in an emergency. Steady illumination of
the red LED denotes failure of that network channel. If the console detects a fail­ure on a channel (A or B), then it will steadily illuminate the red LED for that port
on ALL nodes. So, even if it is a hardware problem at the rack end of the network
which has caused the channel to go short circuit and fail, the surfaces will show
failure on that port as well - if ONE fails, they ALL show failure.

To summarise:

5.28 BROADWAY Touchscreens Functions

BROADWAY Automation 6.1

BBRROOAADDWWAAYY

AAuuttoommaattiioonn

6

6.2 BROADWAY Automation

OOvveerrvviieeww

All audio parameters on Broadway, including switches, rotaries, faders and text
displays, are included in the snapshot automation system.

View parameters, such as the current BANK, SEL settings, solo's etc. are not
stored or recalled. VCA Master Fader positions are stored on a per-cue basis, as
are the assignments of faders to VCA's.

VCA master faders are included in the automation system, but may be scoped
out, effectively leaving them in manual mode. The idea is that the relative balance
between a group of faders (perhaps a group of radio microphones) can be set up
on the input faders, and these may all be moved together, retaining the relative
balance, via a single fader - the VCA master.

The dB offset applied via the VCA master will almost certainly be different from
day to day. When a scene is recalled, therefore, the input faders are returned to
their stored values (as long as their scope is switched in), and the appropriate
VCA master fader offsets are applied to the gain for each of the inputs slaved to
that VCA.

BROADWAY Automation 6.3

TTeerrmmiinnoollooggyy

Complete console snapshots are stored as Cues. Cues may be named, and may
have MIDI and Event data associated with them. Cues may be arranged into a list
called, unsurprisingly, the Cue List. A complete cue list may be stored as a named
Project on the internal hard disk, or onto a Floppy Disk.

The highlighted row in the cue list is marked with the cursor - an inverted bar. The
cursor may be moved around the screen via the jog wheel, or, in some cases, by
touching areas of the screen. The jog wheel includes a push-switch for selections and
editing.

Below the touchscreen are a number of transport switches which are used primarily
for moving between cues. Only those switches which are illuminated are available for
selection.

6.4 BROADWAY Automation

CCrreeaattiinngg CCuueess

Once the console has been set up as desired, pressing Make Cue will bring up the
cue creation window.

At the top left of the screen is a selector which allows the user to select ADD
MAIN CUE or INSERT SUB CUE.

To add a new cue to the end of the list, check that ADD MAIN CUE is selected,
and press [Create It]

To insert a cue at the current cursor position, select INSERT SUB CUE, and
press [Create It]. A new cue will be inserted after the cursor position, and allocat­ed an appropriate sequence number half way between the two numbers either
side. So, inserting a cue between cues 3.0 and 4.0 will generate a cue in between
those two, numbered 3.5. Insertion of additional cues will follow the same num­bering principle, as the system attempts to find a suitable half-way point to the
nearest single decimal place. Once no further legal sequence numbers remain in a
given space, it is advisable to renumber the list before adding more cues. See
Renumbering below.

To overwrite the highlighted cue with the current console status, press
[Update Cue]

New cues are created with a default name of Unnamed Cue, which may be
edited by touching the name box in the top right area of the touchscreen.

At the bottom of the screen are [Renumber All Cues] and [Cue List].

[Cue List] returns the user to the Cue List screen, as would pressing the Cue List
hard switch.

BROADWAY Automation 6.5

RReennuummbbeerriinngg

[Renumber All Cues] assigns integer sequence numbers to every cue from 1.0 to
X.0, where X is the number of cues.

Once part of a cue list has reached saturation (i.e. too many inserted cues), it is
advisable to renumber the list before more cues can be added. Renumber will do
just this, and will ask for confirmation to avoid unfortunate mishaps.

It might also be useful to renumber a list once rehearsal or setup time is over, and
the project has settled down.

The user may choose to renumber cues automatically when insertions or deletions
are made. See Auto Renumber (5.4.3.2) above.

6.6 BROADWAY Automation

RReeppllaayyiinngg CCuueess

In normal operation, the Cursor Bar will lie on the current, or last recalled,
cue. The [NEXT] and [LAST] switches will recall the next and last cues respec­tively, and the cursor will follow the current cue.

The jog wheel will scroll through the available cues for the current project. When
any cue is highlighted, the [EXECUTE] switch will flash. This indicates that [EXE-
CUTE] will recall the highlighted cue to the desk, and that cue will become the
current cue. In this way, it is possible to recall cues out of sequence, especially
useful in rehearsal or unpredictable live set environments.

CCrroossssffaaddeess

Although cues are normally recalled to the console immediately, Broadway is also
able to crossfade settings from the current desk state into the next cue. This can
be useful when smooth transitions are required (for example a fadeout of a sound
effect and a fade in of some live Microphones).

Crossfade will take the current position of all faders, and move them to the set­tings stored in the upcoming cue over the defined length of the crossfade. Since
the time is defined globally for the cue, all faders will take the same time to fade.
Therefore channels for which the adjustment in the new cue is greater will "move"
faster than those with small adjustments.

Note that only Fader levels are crossfaded - all EQ settings, switches, filters etc.
are snapshot as usual, but the POINT in the crossfade at which the various ele­ments are switched may be reconfigured. Note also that although the audio is
crossfading, the physical faders on the surfaces DO NOT move during the cross­fade - they will move into position only once the crossfade is complete.

Crossfades can be achieved in one of two ways: timed crossfade, or manual cross­fade.

TTiimmeedd CCrroossssffaaddee

The user may define a crossfade time for each cue. The time is edited by pressing
the area in the "Fade" column on the Cue List screen for the associated cue. Note
that this time relates to the duration over which movement INTO that cue will be
performed. It has no effect on the crossfade time into the next cue.

By default, Broadway will ignore the crossfade time when executing cues out of
sequence with the jog wheel and EXECUTE switch (for example when program­ming during a break). However, the EXECUTE=FADE toggle switch on the Cue
List page will result in crossfades being performed even when cues are recalled via
the EXECUTE switch.

When a crossfade is underway, the XFADE switch to the left of the Touchscreen
panel flashes, and the XFADE fader begins to move from 0% (the bottom of its
travel) to 100% (top) to show the percentage of the crossfade completed.

BROADWAY Automation 6.7

At any point during the fade process, the user may interrupt the process by touching
the XFADE fader. This will halt the process, and the user may then complete the fade
manually by moving the fader towards the top of its travel. Of course, the fader may
equally be moved downwards to reverse part of the fade, but at some point it must
either be parked at the top, or the crossfade cancelled.

The user may also touch any channel fader to drop that channel out of the fade, and
return it to manual operation.

When the XFADE fader reaches the top of its travel, the cue is deemed to be
recalled, and the touchscreen display will be updated to show this.

To remove a FADE time from a cue, enter the edit box as usual, but type "0.00".

MMaannuuaall CCrroossssffaaddeess

A manual crossfade is begun simply by pressing the XFADE switch. The switch will
illuminate to show that a crossfade is active.

The XFADE fader will snap to the 0% mark, and the user may then use the fader to
perform the crossfade at the desired speed.

SSwwiittcchh ppooiinnttss

The point at which switched functions (i.e. anything other than Faders) may be config­ured per function block, per cue. This is achieved using an extension of the REPLAY
SCOPE functions.

Pressing REPLAY SCOPE will, as usual, bring up a list of the available scope blocks.
Choosing one of these blocks will show the list of available scope choices, each of
which has an associated percentage.

The percentage will show either:

1% Switched as soon as the crossfade starts

50% Switched half way through the crossfade

100% Switched at the end of the crossfade

To edit the percentage of a particular scope, simply turn on the EDIT PERCENT tog­gle switch, and press the appropriate scope to cycle that scope through the percent­age options.

WWAAIITT

The console will usually only recall cues when the User manually activates a recall, or
the system receives a valid incoming MIDI Program Change.

However, cues may also follow on automatically from each other. This is achieved
using a function called "WAIT".

The WAIT time is listed alongside the Fade time for a cue, and is edited in the same
way (just press the space in the WAIT column for the appropriate cue). WAIT time is
defined as the time that the associated cue will wait before automatically recalling the
next cue.

So, if two cues exist - A and B, putting a wait time of 3 seconds against cue A, then
recalling Cue A will result in Cue A being recalled immediately, and 3 seconds later
Cue B will be automatically recalled.

Note that a wait time of "0.00" will result in the next cue being recalled IMMEDIATE­LY. So, to produce a fast sequence of automatic Cues (for example for a series of
chained sound effects cues with MIDI Note Transmission), just give all the cues WAIT
values of "0.00".

To remove a wait time from a cue, enter the edit box as usual, but type "-.--".
Remember that "0.00" is not "WAIT OFF", but "IMMEDIATE RECALL".

6.8 BROADWAY Automation

RReeppllaayy SSccooppee

Whenever a cue is created or updated, the console stores every audio parameter
to the automation system. However, upon recall, the user may define which areas
of the console should be recalled with each scene.

There is a useful "copying" function which can be achieved with REPLAY SCOPE
(see section 7.4 "Selectively Copying Data Between Cues".

Pressing [Replay Scope] will replace the touchscreen switches at the bottom of the
Cue List screen with a list of areas of the console, most of which are highlighted in
the default state. Each of these areas (EQ, FADERS, MUTES, etc.) is presented as
a toggle switch - that is, pressing the switch once will deselect that area of the
console, pressing it again will reselect it.

When any cue is recalled, the Scope settings associated with that cue will define
the areas of the console to be recalled in that scene.

By scrolling through the cue list with the jog wheel while [Replay Scope] is select­ed, the Replay Scope of each cue may be set individually. It might be useful, for
example, to ignore fader positions for ten scenes in a row to allow for live
adjustments, then include the faders in the eleventh cue, to reset them to a
required absolute position.

The replay scope areas available for selection or deselection are:

Channel: Source A/B, Phantom Power,Gain

Faders + Mutes Fader levels and mutes

Insert + Pre/Post Insert switch and Pre/post EQ switch
Routing Main Outputs & Pan

Sends Sends to all GrAuxes

EQ EQ settings and switches, including

filters

Graux: Faders + Mutes Fader levels and mutes

Inserts GrAux inserts

Routing Main Outputs & Pan

Sends Sends to all Matrices

Matrix: Faders + Mutes Fader levels & mutes

Miscellaneous: VCA Faders Fader levels

VCA Mutes Mutes

MIDI + Events MIDI messaging and event relays

I/P Surface Assignments Assignments of inputs

BROADWAY Automation 6.9

6.10 BROADWAY Automation

PPrreevviieeww

To the right of [LAST] is [VIEW]. This is a latching mode switch. When selected,
pre[VIEW] mode will allow the user to recall cues to the surfaces whilst leaving
the rack audio as it was when [VIEW] was first pressed.

This can be useful if the operator needs to recall upcoming cues to check their
contents, whilst a fairly static scene is being performed on stage. There will be no
changes to the audio, but the surfaces will reset just as they would normally.

It is also possible to edit and store data when in pre[VIEW] mode. The syntax is
just as when in normal operation, except the audio will not follow the surface con­trol movements.

Coming out of [VIEW] mode will return the surfaces to the settings of the audio
racks.

BROADWAY Playing Back Cues and Mixing 7.1

BBRROOAADDWWAAYY

PPllaayyiinngg BBaacckk CCuueess aanndd
MMiixxiinngg

7

7.2 BROADWAY Playing Back Cues and Mixing

Cues can be recalled in sequence with the [NEXT] / [LAST] buttons, and non­sequentially by turning the Jog wheel, followed by the [EXECUTE] button. At the
top of the Touchscreen is a Last Cue display, which will always show the name
of the last cue recalled to the console from the automation system.

BROADWAY Playing Back Cues and Mixing 7.3

TThhee CCuurrssoorr,, aanndd NNoonn--SSeeqquueennttiiaall CCuueess

The cursor (inverted bar on the screen) will always highlight the last recalled cue,
unless the jog wheel is turned, at which point the cursor acts as a target selector
for the [EXECUTE] button, which will begin to flash along with the [CANCEL]
switch as soon as the jog wheel is turned. When [EXECUTE] is pressed, the cur­rently-highlighted cue will be recalled. If [CANCEL] is pressed, the cursor will
return to the last recalled cue, and the [EXECUTE] switch will cease flashing.

7.4 BROADWAY Playing Back Cues and Mixing

TThhee [[NNEEXXTT]] PPrreeddiiccttoorr

This is a grand name for the little arrow (Õ) which appears to the left of the cue
which will be recalled by the [NEXT] switch. Even if the cursor is moved away
from the current cue, since [NEXT] will always recall the cue sequentially follow­ing the last recalled cue, the arrow will not move, and can therefore be useful for
location of the current scene position when scrolling through the list (remember
also that the [CANCEL] switch will always return the cursor to the last recalled
cue).

If [EXECUTE] is pressed with a non-sequential cue highlighted, however, then the
arrow will jump to the cue following the cue just recalled out of sequence.

BROADWAY Playing Back Cues and Mixing 7.5

MMiixxiinngg

The various control elements of the console (i.e. the faders, switches and rotary
controls) may be moved at any time. They will always show the real value of the
audio with the exception of VCA offsets to Input faders.

The automation data will be replayed to the console whenever a cue is triggered.
Even if VCA faders are scoped out of the cue, the positions of the VCA Master
Faders will be taken into account when applying the stored data to the console. In
other words, if a VCA Master fader is at -20dB, the recalled gain values on ALL
slave channels will be [the stored value] + [-20dB].

IIssoollaattee

There is every possibility that an input source might change drastically in nature
due to an unforeseen circumstance - mic's slipping, people moving etc.. It is clear
that the stored automation data will no longer be valid for those channels. The
immediate solution to this problem lies in the [ISO](late) switch, which lies at the
bottom of the central Encoder tray on the Input surface.

Pressing [ISO] on a channel will isolate the channel from the automation system.
This means that the whole channel will effectively be in manual mode, and none
of the stored changes will take effect. This remains the case until such time as
[ISO] is deselected, after which any further cue selection will result in the automa­tion values being written to the channel in question. A more advanced solution lies
in offsets (see below).

OOffffsseettss

Live sound is highly unpredictable. Actors, musicians, and even sometimes the
audience can vary from night to night to such a degree that stored automation data
can become at best inappropriate, and at worst completely wrong.

With a conventional analogue console, there is no problem. If a mic slips, for
example, the operator of a traditional desk can simply make an adjustment to a
gain, and that change will not be removed until another adjustment is made to the
same control.

Unfortunately, this is not the case with an automated console. Taking the above
example, the operator of Broadway could easily change a gain setting on the
appropriate channel, and the sound would be corrected. As soon as the next cue
was selected, however, the stored value for the gain on the affected channel
(which, in all likelihood is the same as it was in the previous cue) will be recalled to
the console, thus undoing the change which was so carefully made.

Broadway deals with this problem by using Offset Groups. The idea is that, dur­ing run-time (i.e. whenever Live mode is selected - see Arming and Saving
Offsets below), any changes made to the parameters on any channel will be
stored as offsets to the stored data, rather than absolute values. The changes will
be related to the name of the channel which was edited, and any further instances
of that name from scene to scene will result in the appropriate offset being added
to the stored parameters when the cue is recalled.

7.6 BROADWAY Playing Back Cues and Mixing

OOffffsseettss

The only exception to the offset rule is in the EQ section - since it makes no sense
to offset frequencies and widths, EQ parameters are treated as absolute values,
which will supersede any stored data for that name. The console effectively iso­lates any EQ parameters which are manually adjusted, removing them from the
automation. Remember that this isolation is unique to THAT PARAMETER on
THAT CHANNEL for THAT NAME (offset group). It will not affect any other
parameters or channels.

At the end of the cue list (i.e. at the end of the performance), the system will ask
whether the user wishes to write the offset values permanently to disk (on a per­name basis), or to lose them with power-down. The former is required when the
changes are considered general improvements, the latter when the changes have
been to counteract some kind of unusual problem or circumstance.

There is, however, a further complication to all of this. There is every possibility
that a radio microphone will be used by more than one person during the course
of the performance, and the offsets for one user may not be appropriate for the
next. To counteract this, Broadway allows up to eight names per physical rack
input. It is therefore possible to cater for up to eight users of a radio mic (each
with their own offsets to stored data), or even eight different instances of the first
user.

The latter case would be particularly useful if dramatic changes in costume
changed the characteristics of the sound such that different input channel configu­rations were required for each costume. A mask, for example, or a large hat could
have a serious effect on tonal characteristics. The user would not necessarily want
input adjustments for one costume to affect other costumes later on.

BASS EQ Freq3 Value To
Desk = 500Hz

GTR Fader Level To Desk
= -7dB

SNRE Gain Value To
Desk = +10dB

To 500Hz Up 3dB Down 10dB

Recall Cue 1

Recall Cue 2

Make changes

Changes Stored
Against Names

Add Offsets to
Stored Data

Resulting Values
Sent to Desk

BASS EQ Freq3 Value (300Hz) GTR Fader Level (+1dB) SNRE Gain Level (+30dB)

BASS EQ Freq3 Offset
(EQ, so 500Hz Absolute)

BASS EQ Freq3 Offset
(EQ, so 500Hz Absolute)

GTR Fader Offset (+3dB)

GTR Fader Offset (+3dB)

SNRE Gain Offset (-10dB)

SNRE Gain Offset (-10dB)

BASS EQ Freq3 Stored
Value (200Hz)

GTR Fader Stored
Value (-10dB)

SNRE Gain Stored
Value (+20dB)

BROADWAY Playing Back Cues and Mixing 7.7

The solution is to assign a new name for the same input for each different style
required. BOB, BOBH and BOBM might cater for BOB on his own, Bob with a
hat on, and Bob in a mask. Each name would automatically have its own offset
group, and therefore any changes made would be associated with the correct set­tings.

The Offset system is much easier to use than it is to explain. To the uninitiated,
the system is completely transparent - the fact that every input has a unique name
by default means that all inputs have unique offset groups, and any changes made
once the LIVE switch is pressed will be stored as offsets against the name, and
used to affect upcoming automation data. Changes will appear to stay from
scene to scene, thus rendering the console similar in operation to a conventional
analogue desk.

AAbbssoolluuttee aanndd OOffffsseett CChhaannnneellss

Each name (remember, up to 8 per physical input are available) on the system may
be defined as ABSOLUTE or OFFSET. Absolute channels will always be reset to
their stored values when a scene is recalled, regardless of any changes made to
them earlier in the performance. This can be useful for sources which are required
to always be set absolutely, such as recorded effects, emergency PA settings or
director's mic.

AArrmmiinngg OOffffsseettss

When LIVE mode is selected, any offsets will immediately be applied to the appro­priate channels. When it is pressed again to deselect the mode, the channel para­meters will jump to their stored values, without the current offsets.

It is therefore possible to use the [LIVE] switch as a toggle between absolute val­ues of the last recalled cue, and the same data with offsets applied. This can be
useful when checking the type and degree of changes which have been made to
channel parameters before committing those offset values to disk permanently.

When LIVE mode is active, all changes to automatable audio parameters will be
regarded as offsets.

SSaavviinngg aanndd CClleeaarriinngg OOffffsseettss

If desired, the offset values of each parameter may be written to disk. This will
take the current value ( = stored value + offset), and make it the stored value. At
the same time, the offset will be cleared (because it is no longer needed).

When the performance or rehearsal has been run, and the required changes made
to the audio, the user has two choices - either clear the offsets (if they were creat­ed to combat unusual circumstances that night, or were just not right) or write
the offset values to disk so that they will be recalled forever more.

CClleeaarriinngg OOffffsseettss

To clear the offsets, press CLEAR OFFSETS on the Cue List page. This will bring
up a list of all available inputs. Each input may be selected or deselected as
required by touching the input name on the screen. Alternatively, ALL channels
may be selected simply by pressing the SELECT ALL switch.

Once the desired channels have been selected, pressing DONE will present a final
confirmation screen. If confirmed, the Offsets will be cleared.

SSaavviinngg OOffffsseettss

Saving the offsets is a similar process to that for Clearing the offsets, but it may be
performed PER CUE as well as per channel.

An important thing to remember here - although there may be many names (off­set groups) for each physical input, only one of those is active in any cue. So, when
writing data to the hard disk for a selected offset group, it will check each selected
cue, and if the selected offset group is NOT active in that scene, it will NOT write

7.8 BROADWAY Playing Back Cues and Mixing

the data. So if the name "BOB" is only used in Cues 5 and 6, writing the offset
group "BOB" for all cues will result in only Cues 5 and 6 being updated.

To start the process, press OFFSETS -> CUES on the Cue List page. A list of the
available cues will then be presented. Select the cues that are required to be
updated, then press OK.

A list of ALL available offset groups is now shown. Remember that this will include
ALL offsets from ALL channels (so there may be three or four entries for Input 1,
for example, if it has that many names).

As before, select the required channels, and press OK.

A final additional pair of options are now presented - VCA Offsets (offsets to VCA
master faders - only worth doing if the VCA faders are being automated) and MIDI
Continuous Controller Faders (where VCA Master faders have been assigned to
act as MIDI Continuous Controller faders). Toggle these on or off as required, and
press CONTINUE.

A final confirmation screen will be presented. If confirmed, the console will write
the offset values for the selected channels to all selected cues.

Note that the offsets for any saved channels will be cleared at that point, as the
stored value is now correct, and requires no offset.

BROADWAY Playing Back Cues and Mixing 7.9

SSeelleeccttiivveellyy CCooppyyiinngg DDaattaa BBeettwweeeenn CCuueess

It might be useful to copy just part of a console setup - just the EQ, for example ­from one cue to another. This is easily achieved via a slightly unusual use of the
REPLAY SCOPE (see 6.6 Replay Scope) function, in combination with the fact that
the console ALWAYS takes a snapshot of ALL data, regardless of the REPLAY
SCOPE setting.

To take the above example:

l EXECUTE the cue which contains the desired EQ settings

l Scroll the cursor until it lies on the cue to which the EQ should be copied,

and press [REPLAY SCOPE]

l In [CHANNEL], press [EQ] so that it is no longer hilighted, making sure

that all other parameters are hilighted

l Recall that cue. The whole console will go to the settings in the new cue

except the EQ (which is scoped out), and therefore left as it was in the
last cue

l The desk setup is now as desired - old EQ, different cue around it - so

move the cursor over the last recalled cue and press [UPDATE] (in MAKE
CUE) to store the new settings in that location.

CChhaannnneell CCooppyy // RReesseett CChhaannnneell

With the Channel Copy function in Broadway, it is possible to take the channel
parameters from one channel and apply them to a number of different channels.
There are two ways of achieving this:

1) Single channel copy

2) Multiple channel copy

1) Single channel copy:

Pressing COPY in the FUNC page of the ACS LCD will bring up the COPY SIN-
GLE 1 page. The user is then required to tell the console the source channel ­that is, the channel from which the data is to be copied.

The source channel is selected with a press of its associated SEL switch. This
action will present the COPY SINGLE 2 screen, which asks the user to select the
destination channels to which the source channel data should be copied. Pressing
SEL on any channel at this point will cause the source channel data to be copied to
that channel. Once all copying has been completed, pressing EXIT (F4 on the
ACS LCD) will return the user to the BASE PAGE on the LCD.

2) Multiple channel copy

The COPY MULTIPLE LCD screen allows copying of channel parameters from a
source channel to multiple adjacent (on the SURFACE) destination channels. The
syntax for this page is:

l The user SELects the source channel (from which the data is to be copied);

this selection moves the LCD to Copy Multiple 2.

l The second screen then asks the user to input the first of the destination

channels. When this is SELected, the LCD will move to Copy Multiple 3.

7.10 BROADWAY Playing Back Cues and Mixing

l The user is then required to input the last of the destination channels. The

console will then copy the source channel parameters to the first and last
SELected channel, and all channels WHICH APPEAR ON THE SURFACE
between these two fader assignments. That is, if the first selection is fader
1 on BANK 1, and the second selection is fader 3 on BANK 4, then the
source channel data will be copied over ALL channels appearing ON THE
SURFACE FADERS between those two locations (i.e. all faders in BANK 1,
all faders in BANK 2 and the first 3 faders in BANK 3)

As an additional aid to programming, when the SOURCE channel has been select­ed (in COPY MULTIPLE 1) , it is possible to reset the SOURCE to the default
factory parameters for inputs. This is useful for resetting or flattening large sec­tions of the desk with just a few button presses.

As with all Broadway functionality, there is no UNDO for the copy function.
Remember, though, that the new channel information is not stored in a cue until a
[CREATE IT] or [UPDATE CUE] is performed in the touchscreen. Should a
copy be made in error, simply recall the original cue to return to the old desk
setup.

BROADWAY Playing Back Cues and Mixing 7.11

GGrrAAuuxxeess aanndd MMaattrriicceess

The 32 GrAux sends and the 5 Main outputs in Broadway can all be routed to the
optional Matrix outputs at user-set levels.

The routing from GrAuxes to Matrices is achieved on the Input Surface. The input
surface has four modes, Input, GrAux, Matrix and VCA, selected from the three
switches in the centre of the fader tray.

GGrrAAuuxx MMooddee

When none of these switches is selected, the surface is in Input mode. When
GrAux is selected, the Faders will flip to show the first 20 (or, on the second Bank
the last 12) GrAux master levels (replicating the controls on the Master surface).
The 5 Main Outputs will also appear on the second Bank. The 6 rows of encoders
above the faders will now show the send levels from each of the GrAuxes to the
various available Matrix busses, with a single Matrix appearing on each row. The
name of the Matrix buss will appear in the 4-character led matrix display in the
centre of the encoder tray, and the up and down arrow switches will scroll
through the possible Matrix outputs.

If [SEL] is pressed in this mode, the ACS will show the currently-selected GrAux.
It will allow switching of the Insert, Mute and Solo switches, and level control of
the various GrAux / Main to Matrix sends. GrAuxes may also be sent to the main
outputs, using the OP1-5 switches on the ACS (this is obviously not available when
Main Outputs are selected).

MMaattrriixx MMooddee

GrAux mode presumes that the user wishes to set the routing from audio groups
to matrix outputs (usually speaker clusters) by group. If the user wishes to work by
Matrix, they can select Matrix mode. This puts the Matrix master levels on the
input surface faders, and the encoders above now show the contributions from
each of the GrAuxes to the Matrix busses. The ›and flswitches will scroll through
all 32 GrAux sends and the 5 Main Outputs.

If [SEL] is pressed in this mode, the ACS will show the currently-selected Matrix,
and will allow switching of the Insert, Mute and Solo switches, and, on the 16
rotary encoders, the level control of the various contributions from the GrAux
busses.

GrAux and Matrix modes are effectively setting the same parameters, but the view
is reversed. The user can choose whichever mode best suits the situation, and the
data will be presented appropriately.

7.12 BROADWAY Playing Back Cues and Mixing

BROADWAY Hints and Tips 8.1

BBRROOAADDWWAAYY

HHiinnttss aanndd TTiippss

8

8.2 BROADWAY Hints and Tips

Broadway may, at the simplest level, be operated as a regular, manual mixing con­sole. The default project settings of Input 1-20 on BANK 1 of every surface, and
21-40 on BANK 2 of every surface allow the engineer to start mixing straight
away, without reference to an operation manual or any training.

The easiest way to start mixing on Broadway is to select BANK 1 on input Surface
1 and BANK 2 on input surface 2. This shows the full 40 inputs of the system
simultaneously, and allows immediate access to those channels.

Given the time to program a show, though, the Broadway system will deliver con­siderably more assistance to the operator. Fader assignments, channel naming, off­set groups and VCA slave assignments will all help the operator concentrate on
making the best-sounding and most consistent mix possible.

This document is intended to assist both the new and experienced Broadway
operator in streamlining the operation of their desk, and in exploring new func­tions which have been added since the consoles initial release.

BROADWAY Hints and Tips 8.3

SSeettttiinngg UUpp AA SShhooww

Since Broadway is an assignable and automated desk, there is a tendency to
believe that programming means a long and complicated setup procedure. This
need not be the case.

There are, of course, different levels to which an operator can program Broadway
for a show. It is not necessary to complete all the tasks described below - any or
all of the functions may be combined to suit the show to be run, and it is down to
the user to decide how much benefit will be gained from each level of program­ming.

It is advisable, therefore, to decide IN ADVANCE of the programming roughly
how the show should ideally appear on the console, and the best guess (given
that the production may not even be in rehearsal yet!) as to the type and number
of Inputs, GrAux outputs and Matrix outputs to be used. This way, the user will
avoid unnecessary programming time, and end up with a show which is only as
complicated as it needs to be, and the information presented is approximately cor­rect from the first day of rehearsal.

There is no point, for example, in naming 40 channels of tie lines and all the out­puts, if only 20 inputs and 2 outputs will be used in the production. The default
names will be fine for any unexpected repatching which might be required, and
the user will waste their time setting up all the channels which will never be
required.

AA FFeeww QQuueessttiioonnss WWhhiicchh MMiigghhtt BBee UUsseeffuull AAss AA SSttaarrttiinngg PPooiinntt::

Would just channel naming be appropriate?

Do the outputs REALLY need to be named?

Will the VCAs be reassigned from Cue to Cue, or just remain static?

If the VCAs are being used heavily, is there any point in reassigning the Input
Faders, as most of the time will be spent on the VCAs?

CChhaannnneell NNaammiinngg

Not only does Broadway allow input and output channels to be named, but it also
gives the user the opportunity to give a single physical input or output up to 8
names, ONE of which will be selected as current in each Cue.

This might seem odd, but consider a couple of examples:

(a) A radio microphone for a member of a chorus in a theatrical production is
given to three different actors during the evening. Despite the pack change, the
physical input into which the radio mic is patched will NOT change. Simply go to
the FADER ASSIGN page, press the NAME column for that channel, and name the
first, second and third slots, or offset groups, as appropriate for the actors to
use that microphone.

It is now possible to select in each Cue one of the 3 names which were entered in
the above process. Note that the audio parameters will not change (unless, of
course, audio changes are programmed into the Cue List...!), but the name WILL
change, assisting the user in identifying the actor in question, and in helping the
Radio Mic Assistant in the event of confusion during rehearsal.

(b) A guitarist in the pit is using two different guitars, but only playing one at a
time. Using two different names for the input, the operator may now display the
two different functions of that channel (e.g. OVDE for overdriven electric, and
CLEC for clean electric). The appropriate names may now be selected for each
scene, keeping the user up to date with the instrument which the musician will (or
should...!) be using.

Note that Offset groups may have unique VCA assignments, so, for the above
example, OVDE may be in VCA 5, but if CLEC is selected, it will have its own
VCA assignment, and will not inherit the VCA master of OVDE. VCAs are assigned
PER OFFSET GROUP and NOT per input.

8.4 BROADWAY Hints and Tips

FFaaddeerr RReeaassssiiggnnmmeenntt

The conventional method of Fader Assignment on Broadway (press INPUT in the
Fader Assign page, which then asks for a Rack, input and Offset Group of the
required input) can be a time-consuming process. There is a shortcut to this task
which can greatly accelerate the process.

Pressing the FADER column (i.e. the 1:B1:01 entry) will bring up a list of all the
inputs available, sorted numerically. This list will show one entry per channel, and
will show the NAME of that channel if a name has been programmed. Since the
console already knows the relationship between an input and its name, the user
need only refer to channel NAMES from now on, and can forget about the real
input location of channels in the rear of the racks.

So, if names have been assigned to all inputs, the task of assigning Kick (on input
Rack 1, input 2) is as simple as pressing the FADER column at the desired location,
and pressing Kick on the list. The console will then make the necessary arrange­ments to place input 1:02 onto that fader location.

SSeennssiibbllee AArrrraannggeemmeenntt

It may be perfectly acceptable for some applications to leave the default arrange­ment of inputs to surface faders for use in the show. However, sensible arrange­ments of faders can make troubleshooting and the mix operation more fluid and
intuitive.

AA CCoouuppllee ooff UUsseeffuull IIddeeaass ttoo BBeeaarr iinn MMiinndd::

If the basic default setup is what has been used successfully until now, then leave
BANKS 1 and 2 the same on the surfaces. On higher-numbered BANKS, try
assigning the various components of the Orchestra (e.g. Rhythm, Percussion,
Brass, Woodwinds) to a different BANK for each type. Leave at least one BANK
(or more, depending on the number of radio channels) exclusively for RADIO
MICs. This system allows faster access to certain types of instrument when mixing,
so certain elements of the sound may be selected for viewing and adjustment.
Of course, since BANKs 1 and 2 have not been changed, the user may still operate
as before if required.

As a backup measure, try assigning BANKs 1-4 as required on input surfaces 1 and
2, then assigning BANKs 5-8 on input surface 1 as per 1-4 on i/s 2, and BANKs 5-8
on i/s 2 as per 1-4 on i/s 1. In the event of failure of one surface, this programming
style gives an immediate replica of the 4 lost BANKs via the redundant sur­face. We refer to this type of surface programming as reverse assignment, and it
does give peace of mind to users who require 4 BANKs or fewer.

RRiippppllee

Ripple is a system which allows the user to make changes to the whole show by
editing just one Cue.

Note that NAMES (the 8 names per input and output) are changed per PROJECT,
and NOT per CUE. So, on an unprogrammed system, changing the name of the
default offset group (the first group) will effectively change the name of that input
throughout the show.

However, fader assignments, VCA assignments, offset group selection and stereo
channel selection will follow the Ripple law.

BROADWAY Hints and Tips 8.5

This works as follows:

When a change is made to an assignment of the type listed above (for example an
input to fader assignment), the console will leave that change active on the surface
until an incoming Cue makes a manual reassignment to the same fader. So, for
example:

The six Cues shown above are set up in a show. The assignment was actually set
up in Cue 1, and this is therefore a hard assignment (**). Since no changes are
made below, the console presumes that the following Cues require the same
assignment.

The user now wants to assign input 7 to fader 1 in Cue 3. The result is:

Cue 3 now assigns input 7 to Fader 1, and this is a hard assignment. Because the
assignments below were soft (presumed by the console, not manually set), they
are replaced by the same information as Cue 3. If the user only wanted that
change in one Cue (Cue 3), then it is now necessary to assign input 5 to Fader 1 in
Cue 4. This results in:

The list now has 3 hard assignments, namely those in Cues 1, 3 and 4.

This principle is particularly useful in assigning VCA slaves across the whole desk
AFTER a show has been programmed with many Cues. Simply set up the required
VCA settings in the top Cue, and the console will not change those assignments
until it receives a specific command to do so (via a new VCA assignment set).

Bear in mind that ripple also takes effect when a Cue is INSERTED into the list. It
will affect all Cues below it until each parameter reaches a hard assignment.

SSccooppee

Scope is a very valuable tool in updating a show which has already been created,
or in rehearsing certain parameters through a show without writing them per­manently to disk.

Scope simply tells Broadway, on a PER CUE basis, to ignore certain types of data
when recalling that Cue. Note that ALL data is stored when a snapshot is taken,
and the user cannot change this rule, but what they CAN change is what is
recalled.

8.6 BROADWAY Hints and Tips

For example, in a 10-Cue show, it might be desirable to try some different fader
settings to those which have been stored in the Cues. Simply set up the desired
fader positions, then go to REPLAY SCOPE on each Cue, and toggle FADER to
OFF. The console will now ignore all stored settings for the faders from Cue to
Cue, and will effectively leave them in manual mode.

Scope may also be used for UPDATING Cues which already exist. Using the
above example, let us presume that the new positions of the faders are correct,
and should be added to each Cue. Recalling the Cues in sequence will now pre­sent the desk state as per each Cue, but the faders, as before, will be manual and
remain the same. So each Cue is recalled as before, but with the new fader set­tings. Now pressing UPDATE CUE fader each recall will store that new desired
setup into the appropriate Cue location.

PPrroobblleemm--SSoollvviinngg

The DETECT NETWORK page on Broadway is a valuable tool in discovering
which network units (nodes) are active, and which are not. Should a problem
arise with a unit (power loss, card damage, etc.) such that the device is no longer
available to the system, then the user will be alerted via the Detect Network page,
which will automatically appear when the user is on the CUE LIST or MAKE
pages.

From the list of units, it is possible to see where the problem lies. Compare the
SYSTEM column with the PROJECT column. The PROJECT column shows
information about the project on the disk, including the number of inputs and out­puts which the project EXPECTS TO FIND. The SYSTEM column shows the
same information, but this time what the console ACTUALLY HAS. If all is well,
the number of inputs and outputs should match up. If the input number is short,
then the Input Rack has caused a problem. If the outputs are short, then the out­put rack is the cause.

If the number of Input Surfaces does not match, then there is a problem with an
Input Surface (note however that some users choose to change the number of
input faders on their system after a project is created).

MMoorree FFlleexxiibbiilliittyy IInn TThhee HHaarrddwwaarree

There are a number of slightly unusual ways in which to use the rack hardware in
Broadway to achieve even greater flexibility in any given system size.

Those users needing more inputs to the console, especially those requiring returns
from FX units or audience playback devices which require only level control, can
take advantage of the number of GrAux outputs on the console.

GrAuxes which are either unused, or acting simply as Aux Sends to external
devices, can act as additional line inputs into the console. Simply feed the input sig­nal into the Insert Return of the console, and switch the Insert point IN. This will
result in the GrAux fader carrying the input signal, and the meter showing the
post-fade level. The input signal may then be routed to any of the Main outputs, or
the Matrix Outputs (if fitted).

Of course, the limitations here are that there is no Mic Gain or EQ on the input,
and only Level, Mute and Solo control are available. This may prove to be too
much of a limitation, but might help the user out of a problem when a large num­ber of Line level sources are suddenly required to be mixed together.

The manner in which not only the unused GrAuxes but also the GrAuxes used as
sends may be used for this purpose is by attaching the device to be addressed by
the GrAux send to the Insert Send of the GrAux rather than the Output. Level
control of the final send level is lost, but this may be a compromise which the
operator is prepared to accept. Note that the Insert Send will always be active on
the GrAux outputs, regardless of the status of the associated Insert IN switch.

BROADWAY Hints and Tips 8.7

This setup might also offer a simple way to set up a large number of Recording
sends to tape, which are FIXED at line level, rather than potentially adjustable via
the faders. The user would therefore be able to exchange 16 (for example)
GrAux sends for 16 level-controlled Line inputs and 16 fixed-level tape sends.
Given the large GrAux capability of Broadway, this tradeoff may make sense for
those users using just a few sends and Groups.

8.8 BROADWAY Hints and Tips

BROADWAY Software Update Policy 9.1

SSooffttwwaarree UUppggrraaddeess

9

BBRROOAADDWWAAYY

9.2 BROADWAY Software Upgrade Policy

SSooffttwwaarree UUppggrraaddee NNootteess

In order to upgrade Broadway software, you will need a main system disk, con­taining the different type of software for each node, and the data files
(DATA.DAT) appropriate to your size of system.

Note that, although version 1.106 and 1.2.16 used the same DATA.DAT files,
Version 2.xx and above use NEW data files, which are different to ALL earlier ver­sions. Version 2.xx MUST be loaded in conjunction with v2.xx DATA.DAT files to
operate correctly.

Retrieve all the files in the v2.xx directory on the Website, and one of the DATA
files in the DATA directory (appropriate to your system size), then follow the
instructions below.

IInnssttaalllliinngg aa NNeeww VVeerrssiioonn ooff SSooffttwwaarree

Before commencing the upgrade, it is important that you have a Floppy
copy of your existing software available in case of problems.

1) If you have a working system running older Broadway software:

Copy the .HCA files as appropriate for your system onto a blank formatted disk.

You will need either an OUTIN_RK.HCA or OUT_RK.HCA dependent on system
size.

If your system has 40,80,120 channels you need the OUT_RK.HCA file, otherwise
you need OUTIN_RK.HCA

Rename your DATA file (e.g. 60-40-0.gz) to DATA.DAT, and copy this to the
Floppy disk along with the other files (or onto another blank Floppy if the first is
full).

You should end up with:

CONTSUF1.HCA

MASTSURF.HCA

AUDIO_RK.HCA

OUT_RK.HCA (or OUTIN_RK.HCA, as required)

VCAEXTN.HCA (if you have a VCA Extender Surface)

DATA.DAT (appropriate to your system size)

Insert this disk into the Broadway Master Surface, navigate to the Software
Upgrade page, and press the Load Floppy button.

Once all files have been copied, press Upgrade All Nodes

After this has completed, press Clear SRAM.

You should now reboot the whole system. See below for the boot procedure.

2) From a completely blank Broadway system:

Copy the individual .HCA files onto individual disks, renaming
them to have the extension .GZ. Thus OUTIN_RK.HCA becomes
OUTIN_RK.GZ

Copy the file LOADER.ABS onto each floppy disk.

The disk containing OUTIN_RK.GZ or OUT_RK.GZ should also
contain the file DATA.DAT, FILES.LST and FILES.DAT.

In order to load software onto the CPU cards in audio racks or input surfaces, you
will have to plug those CPU cards into the master surface.

BROADWAY Software Update Policy 9.3

For each CPU card that you plug in:

1) Turn off the master surface

2) Plug in new CPU card

3) Place floppy disk created above for that rack/surface into drive

4) Turn on the master surface

5) The floppy light should come on for a minute or so, while it
loads the software

6) Once floppy light has gone out, remove floppy disk

7) Repeat for each CPU card

BBoooott PPrroocceedduurree

After the installation of new software and the subsequent SRAM CLEAR, the soft­ware must be started carefully in order for it to start up correctly. After new soft­ware, the input racks must be started in the correct order i.e. input rack for chan­nels 1-40 before the input rack for channels 41-60 (OUTIN_RK). The output rack
should be the LAST rack turned on.

Please wait at least 20 seconds between turning on each rack or control surface.

Once your system has been started once and is fully working, you may start the
console with a single action (system power). The boot order is only significant
when the SRAM has been cleared.

9.4 BROADWAY Software Upgrade Policy

BROADWAY Surface Fader Calibration 10.1

BBRROOAADDWWAAYY

SSuurrffaaccee FFaaddeerr
CCaalliibbrraattiioonn



10.2 BROADWAY Surface Fader Calibration

The console supports localised Surface fader calibration on booting, by holding a
number of switches when the Surface is powered up.

To perform a Recalibration, select the correct Surface type and fader area from
the list below, and reboot the Surface holding the appropriate SOLO / FUNC
switches:

Once the fader recalibration is completed, the Surface will continue to boot as
usual.

BROADWAY Appendix A A.1

BBRROOAADDWWAAYY

TThhee HHaarrmmaann
CCoommmmuunniiccaattiioonnss
AArrcchhiitteeccttuurree ((HHCCAA))

--AAnn OOvveerrvviieeww

Appendix

A

A.2 BROADWAY Appendix A

IInnttrroodduuccttiioonn::
WWhhyy IIss IItt NNeecceessssaarryy TToo DDeevveelloopp aa CCoonnttrrooll AArrcchhiitteeccttuurree??

In the last few years, there has been a considerable increase in the number of
parameter-based, software-controlled professional audio units. As the benefits of
such flexibility and configurability become clear, each manufacturer will further
develop their own proprietary feature set, parameter list, and sometimes even
their own data structure to suit their particular application.

Whilst this explosion of ideas and feature sets offers clear advantages to the end
user in terms of the configurability of any given unit, it is clear that, with the arrival
of each new piece of black box audio hardware, the chances of any two con­nected machines being compatible (i.e. able to exchange information in one
form or another) are substantially reduced. To restrict manufacturers to a basic
feature set and parameter list would certainly go a long way towards reducing
these incompatibilities, but would also inhibit the creative design process and evo­lution of new hardware.

The alternative to such restrictions is to develop a protocol for intercommunica­tion of various devices, which would allow any interconnected machines from
compliant manufacturers to edit and share each other's parameter information.
Whilst this network intercommunication protocol is required to be sufficiently
generic to allow communication with any connected device, it must also allow
manufacturers to retain design autonomy within their own equipment.As far as the
user is concerned, it is easy to see how such a co-ordinated and highly-compatible
control interconnection protocol would be invaluable in system setup and opera­tion. Not only would the creativity of the user be concentrated on the perfor­mance aspect rather than the technical details, but new methods of using con­trolled hardware could lead to innovative audio mixing.

It is just such a realisation which has been circulating through the audio industry for
quite some time. The development of the Harman Communications Architecture
has taken place in direct response to just this perceived need in the Professional
Sound Reinforcement market for an intelligent communication protocol
between networked devices.

The abilities of any new protocol were required to extend beyond the single­ended blind remote control systems (where the message is sent with almost no
knowledge of the target item) with which today's pro audio system designers are
forced to work, offering instead a managed and co-ordinated approach to system
integration.

A considerable amount of work in this area has already been completed over a
number of years by the AES SC-10 committee, the culmination of which was a
proposal document for a new protocol - the AES-24 standard. Although many
aspects of HCA closely mirror in principle the proposals made in the AES-24
working document, there are some areas in which the HCA development team
felt it necessary to expand upon and, in some cases, revise some of the ideas
therein.

BROADWAY Appendix A A.3

WWhhaatt IIss aa CCoonnttrrooll SSyysstteemm??

Let us first consider a typical conventional system for multitrack recording:

FFiigg.. 11.. AA CCoonnvveennttiioonnaall IInntteeggrraatteedd SSyysstteemm ((AAuuddiioo NNoott SShhoowwnn))

A control network in this context is any intercommunication protocol which
allows the controlling elements of a unit to be remotely accessed and updated.

FFiigg.. 22.. AAnn EExxaammppllee OOff AA BBaassiicc CCoonnttrrooll NNeettwwoorrkk ((AAuuddiioo NNoott SShhoowwnn))

The ideal control system would allow the storage of parameter data for later
recall, and would allow the user to access any of the audio components from
any of the control components. This requires that a list of the various control
and audio destination resources available on the system be drafted and stored
by the controlling system. To achieve this, a fundamental distinction needs to be
made between the Control part of any given unit, and the Audio part.

A.4 BROADWAY Appendix A

EEnntteerr HHCCAA

How does HCA achieve these goals? HCA is a system control and management
protocol, which has been designed to facilitate the interconnection of networked
audio devices. HCA considers all components within the system - faders, eq,
rotary knobs, DSP - as separate elements, even if some of these reside within the
same unit. By default, the control elements on the front panel of a reverb will
obviously access the parameters within that reverb, but they may now be
repatched to access any other element in the system.

This may better be explained by way of an updated version of Figure 2:

FFiigg.. 33.. CCoonnttrrooll SSeeppaarraatteedd FFrroomm TThhee AAuuddiioo

The most important point to note about the system in Figure 3 is that in all cases
the control elements have now been separated from the audio, although they may
still be within the same unit. This point is vital to the principle of HCA. All of the
HCA component parts are virtual components, that is, they may live in software
on any device within the network. Thus the controlling component of an Eq
device, for example, might be hardware controls on the front (which would send
software information to the Eq audio components) or a glass screen virtual soft­ware interface, on a PC, touchscreen, LCD, or any other interface device. The
hardware / software nature of the elements of the system are of no particular
importance to HCA, just as long as the system knows how the element should be
controlled, and what control capabilities it itself has.

If we now consider the various elements within the control and audio components
of each unit on the system, such as faders and rotary knobs for the control sec­tions, and VCA and Eq components for the audio sections, it is possible to build up
a list of all the individual components available within the system. By default, it is
clear that most control items will have a pre-determined target audio function,
such as:

BROADWAY Appendix A A.5

FFiigg.. 44.. TThhee SSttaannddaarrdd MMaappppiinngg OOff CCoonnttrroollss TToo AAuuddiioo CCoommppoonneennttss iinn aa CCoonnvveennttiioonnaall DDeesskk

Control Mapped To Taget

Fader 1 VCA 1

Fader 2 VCA 2

Fader 3 VCA 3

Fader 4 VCA 4

etc etc

Since the system now has access to all of the components in the system individual­ly, it is a relatively simple matter to set up a routing matrix similar to the above
table to route any control object to any destination audio object - the beginnings
of a very powerful control system.

Note that the interconnecting cable is not defined. It is important to appreciate
that no particular transport medium (1) has been defined as part of HCA - that is,
HCA is a Networking and Data Transport system which uses some defined primi­tives (2), and is not based on any particular computer format or connector type.
The only restriction is that the connecting medium be as fast as each unit requires.
This principle carries with it two important advantages -

l Any new, faster transport media which arise may be easily adopted and

integrated.

l The transport medium for any device need only be as fast as the function of

that unit requires, with a cost to match. It would not be sensible, as an
example, to require that a simple guitar pedal be fitted with the same inter­face as a fully-assignable audio mixing console.

1 A transport medium describes the manner in which information is physically transferred from unit to unit within a network.

Ethernet, MIDI and C3 are all examples of transport media.

2 A prinitive is a command called at a high level by a controlling system, but executed via a series of proprietary functions by the

carrying operating system. HCA is not interested in the resulting code used, only that the data transport functions which HCA
requested with the primitive are executed correctly, and that an appropriate tally, or answer, message is received in return.

A.6 BROADWAY Appendix A

SSyysstteemm OOvveerrvviieeww

First of all, the system needs to know the location (on the network) and function
(whether a control or audio function, parameter ranges etc.) of each of the compo­nents in the system.

OObbjjeeccttss

HCA translates the individual proprietary audio hardware and, where appropriate,
the front-end software components of each networked device into a series of
objects. These are the most basic element in the HCA world. Every software
parameter, every audio component, every hardware control is reduced to the status
of an object. Fundamentally, there are just two types of object - a generic object
and a non-generic object. A generic object is one which has similar functionality
from unit to unit, regardless of manufacturer - e.g. fader, encoder, VCA, etc.. A
non-generic object is unique to a manufacturer or a particular unit. This type of
object must announce its presence in more detail - a process which will be discussed
in more detail in the section Object Discovery below.

An object's type name is derived from two categories - manufacturer and object
type. Thus generic/fader (i.e. a control surface object) or lexicon/delay_time (an
audio object) are possible examples.

DDeevviiccee MMaannaaggeerrss

Taking the example of an assignable console, it is clear that there will be a vast num­ber of faders, rotaries, audio components etc., all of which comprise the one con­sole unit. Dealing with each of these components individually would require a larg­er bandwidth (data rate). This problem is solved by the Device Managers. These are
special instances of an object, which can create groups of other objects. So a device
manager might create a control surface object which consists of several encoder
objects, fader objects and switch objects. It might equally produce a processing
object which comprises several Eq objects, and some Limiter objects.

These may then be handled as single entities by the HCA architecture, although all
of their individual addresses on the network are retained relative to the device man­ager. It is easier to think of these managers as similar in function to sub-directories
on a computer disk. Take the example of a 40-fader, 20-encoder control surface.
The device manager will allocate a position ID to the new collection of objects, and
names it Assignable Control Surface. Now, instead of searching individually for 40
faders and 20 encoders, the system simply looks for Assignable Control Surface 1
(which has been pre-defined as 40 faders + 20 encoders).

FFiigg.. 55.. DDeevviiccee MMaannaaggeerrss GGrroouupp OObbjjeeccttss ttoo AAssssiisstt iinn SSyysstteemm BBuuiillddiinngg aanndd CCoommmmuunniiccaattiioonn

BROADWAY Appendix A A.7

TThhee RReeggiissttrryy

A major goal of the HCA system was to achieve as close to true plug and play
hardware control capabilities as currently possible, and to eradicate as many of the
integration headaches traditionally associated with attempts to remotely control
and access information within interconnected devices, be they Dynamic
Processors or Multi-Track Tape Recorders. Given the rapid development of new
devices and working methods, any new protocol has to be relevant to today's
market, whilst remaining sufficiently open-ended to accept new equipment and
different working practices. Figure 2 could operate quite well as a control system
if all of the equipment knew exactly what the other machines were, and how to
control them. So how does HCA achieve this?

HCA is an intelligent system; that is, it will detect and integrate any new unit
connected to the system, and determine the type of control / slave operation of
which that unit is capable. The location and function of every component of the
system is stored in an area called the registry. This area may reside within any of
the units on the network, and stores information on all the objects available to the
system - the HCA equivalent of an office cardfile system with contact information.
The registry operates as a database, or local address book, with information
about all objects available to the system. The information includes the physical
address of the object (i.e. the network location at which the object resides), the
type of object, and the parameters required to control it. There is only one reg­istry per network domain (3), which means that the administration is dealt with
by one central processing unit, which brings with it certain advantages.

OObbjjeecctt DDiissccoovveerryy

When a new device is connected to the system, its own device manager already
knows the resources available to it locally, so it now needs to tell the network
about the objects it has to offer, and what information it requires in return (4).
The device manager first checks for the presence of a registry. If none is forth­coming, the new device will become the registry, otherwise it will begin negotia­tions with the registry to inform it of the objects within the new device.

The registry now knows the location of the new objects (sub-grouped under the
device manager name), and adds them to its database. Now any control unit wish­ing to find one of the new components simply asks the registry where that unit
resides, and how it should control the target object. This saves the task of search­ing the entire network for the desired unit, which would be both time-consuming
and wasteful of network data flow (bandwidth).

One possible disadvantage of such centralisation of information is that a registry
failure could be catastrophic. The system therefore carries a mirror (copy) of
the register in another unit on the network for security backup.

3 A network domain is an area of the HCA network in which all of the units are in permanent contact with each other from

power-up.

4 If the unit has no battery-backed memory, it may load its HCA configuration data from another machine on the network-

the so-called bootstrap server. The unit requesting information is said to be the bootstrap client.

A.8 BROADWAY Appendix A

HHaannddlleess -- DDyynnaammiicc PPoossiittiioonn IIDD''ss

Within any network, the problem of unit addresses is always a major issue. It
would be easiest to presume that every unit had a unique address, and would
always be referred to at that address. Unfortunately, this would require very long
addresses, and some fairly tight regulation on the part of manufacturers.

The alternative to the static ID solution is to allow the system to allocate new
soft ID's to every component on the system each time the network is powered
up. The disadvantage with that idea is that the network configuration depends
rather upon knowing where everything is, and re-naming time could be very
long.

The HCA solution is something of a hybrid of these two concepts. Each object has
an ID, derived from the manufacturer's name and the object type and the father
device manager's chosen position ID for that particular object. There is no guaran­tee that this will be unique, so the system can update this address if necessary.
When it comes to runtime, i.e. when the network begins to operate, the reg­istry allocates every object on its database a short, unique (32-bit) address - a
handle. This handle list is a sort of localised table of contents recompiled each
time the system is reconfigured, with each entry in the list being given a runtime
ID, which may be different every time the system is run.

For example, if three objects existed on the network - soundcraft_fader_1, sound­craft_fader_2 and soundcraft_VCA 2, they could be allocated handles thus:

Handle Object Name

1 soundcraft_fader_1

2 soundcraft_fader_2

3 soundcraft_VCA_2

etc etc

These are obviously not the true data structures, but the principle is the same.

TThhee SSyysstteemm BBuuiillddeerr

We now have a detailed library of uniquely addressable objects, with all of the
information necessary to use them within an integrated system. We now need
some way in which to configure the layout of the system, and to make the patch­es, or links, between the control components and the audio components.

This task is achieved by the system builder. This object allows all of the compo­nents to be interconnected (in the virtual space of the network), and given para-

meter ranges, labels etc.... From the user's point of view, the system builder will

almost always be implemented in the form of a glass-screen (PC) front-end, but
the same guiding principle applies - that the actual system builder area of HCA
may reside within any device on the network.

The combination of the System Builder and the Registry (along with the latter's
ability to detect new devices upon power-up) is what makes HCA so flexible and
so powerful. The centralisation of the object directory inside the registry means
that complete network scanning (or polling) should only very rarely be neces­sary. This means more space for other, more important messages, such as para­meter change and, perhaps one day, the transmission of digital audio or video.