Trinnov Audio D-Mon Series, D-MON 6, D-MON 4, D-MON 8, D-MON 12 User Manual

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D-Mon Series

User Guide

Version: V4.2

Edition: 28/09/2018

All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher, addressed “Attention: Permissions Coordinator,” at the address below :

Trinnov Audio

5 rue Edmond Michelet,

93360 Neuilly Plaisance

France

To obtain the latest documentation and software downloads, please visit

www.trinnov.com

Table of Contents

1 WELCOME ............................................................................................................................ 7

1.1 ABOUT THIS MANUAL ..................................................................................................................................... 7

1.2 SOFTWARE UPDATES ..................................................................................................................................... 7

1.3 USER REGISTRATION ...................................................................................................................................... 7

2 IMPORTANT SAFETY INSTRUCTIONS .................................................................................... 8

3 INTRODUCING THE D-MON SERIES ....................................................................................... 9

3.1 OVERVIEW ..................................................................................................................................................... 9

3.2 COMPARISON OF MODELS ............................................................................................................................ 10

3.3 SYSTEM COMPONENTS ................................................................................................................................ 11

3.4 METHODS OF CONTROL ................................................................................................................................ 11

4 THE D-MON PROCESSOR .................................................................................................... 13

4.1 FRONT PANEL ............................................................................................................................................. 13

4.2 REAR PANEL ................................................................................................................................................ 14

5 QUICK START ..................................................................................................................... 15

5.1 POWERING ON / BOOTING UP ....................................................................................................................... 15

5.2 OPENING THE GUI ....................................................................................................................................... 16

5.3 RESIZING THE GUI ....................................................................................................................................... 17

5.4 PAGES & NAVIGATION .................................................................................................................................. 18

5.5 CONVENTIONS ............................................................................................................................................. 18

5.6 RECALLING A PRESET ................................................................................................................................... 19

5.7 DAY-TO-DAY OPERATION ............................................................................................................................ 20

5.8 MODIFYING THE CONFIGURATION .................................................................................................................. 22

5.9 EDITING THE SESSION SETTINGS ................................................................................................................... 24

5.10 SAVING A SNAPSHOT ................................................................................................................................... 26

5.11 NEXT STEPS ................................................................................................................................................ 26

6 INSTALLATION & SETUP ..................................................................................................... 27

6.1 WHAT’S IN THE BOX ? .................................................................................................................................. 28

6.2 STARTING UP THE D-MON PROCESSOR ......................................................................................................... 29

6.3 STUDIO INTEGRATION & WIRING .................................................................................................................... 31

6.4 CONFIGURING THE SYSTEM .......................................................................................................................... 34

7 THE D-MON CONTROL PANEL (GUI) .................................................................................... 48

7.1 THE CONTROLLER PAGE ........................................................................................................................... 48

7.2 SESSION ROUTING .................................................................................................................................. 56

7.3 MONITORING MIXER ............................................................................................................................... 62

7.4 SESSION SETTINGS ................................................................................................................................ 64

7.5 STUDIO SETUP ........................................................................................................................................ 67

7.6 CONFIGURATION PRESETS .................................................................................................................... 82

D-Mon Series User Guide 5/95

Table of Contents

8 EXTERNAL CONTROL .......................................................................................................... 87

8.1 AVID EUCON ............................................................................................................................................... 87

8.2 AVID ICON SERIES ....................................................................................................................................... 88

9 APPENDICES ...................................................................................................................... 92

9.1 WIRING DIAGRAMS ...................................................................................................................................... 92

9.2 MIDI IMPLEMENTATION ............................................................................................................................... 93

9.3 TECHNICAL DATA ......................................................................................................................................... 94

6/95 D-Mon Series User Guide

Notes - points of clarification.

Tips - useful tips and short cuts.

ATTENTION!

1 WELCOME

Welcome to the D-Mon series from Trinnov Audio.

1.1 ABOUT THIS MANUAL

This document describes how to install, setup and operate the D-Mon|4, D-Mon|6, D-Mon|8 and D-Mon|12. We recommend that you read this manual carefully before installing or operating a D-Mon Series system. The specification is valid for Version 4.2.x.

Note that most of the examples in this document show a D-Mon|12. The operation and setup of other models are identical, but some functionality such as the number of Optimizer

For a short introduction, we recommend reading Chapter 5: Quick Start.

Also, look out for the following text boxes which indicate:

channels will vary. These differences are noted in the relevant topics.

Alert you when an action should always be observed.

1.2 SOFTWARE UPDATES

Trinnov Audio employ an ongoing development programme and offer software updates for all D-Mon series products. Releases may be downloaded from the website after registration (see below).

The following utility software applications are available after registration:

• D-Mon App – this is a separate application which must be installed if you wish to remotely control the system from an Avid

EUCON control surface. See Chapter 8: External Control for details. App is only available on Mac computers.

1.3 USER REGISTRATION

For access to regular product updates and downloads, please register at register.trinnov.com

ATTENTION!

er serviceable parts in this

for your safety. If the provided plug does not fit into your outlet, consult an electrician for

the local main

environment and the immediate external

65% relative humidity. External

2 IMPORTANT SAFETY INSTRUCTIONS

To ensure optimal performance, please pay attention to the instructions in this Quick Start Guide:

• Read these instructions.

• Keep these instructions.

• Follow all instructions.

• Install the apparatus on a solid, flat, level surface that is dry, well ventilated and out of direct sunlight. Be sure that all

four feet are supported.

• Do not use this apparatus near water.

• Clean only with a dry cloth. Do not use liquid solvent-based cleaners.

• Protect the detachable power chord from being walked on or pinched particularly at plugs, convenience receptacles,

and the point where they exit from the apparatus. If the ac cord becomes damaged, do not use it. Immediately replace it with a new one of the same or better rating.

• Unplug this apparatus during lightning storms or when unused for long periods of time.

• Do not open the equipment case or remove any of the cover panels. There are no us

equipment. Refer all servicing to qualified service personnel.

• To prevent fire or shock hazard, do not allow liquids to spill or objects to fall into any openings of the product.

• Use only attachments/accessories specifies by the manufacturer.

• This unit is supplied with two 3-pin grounded AC plugs. Always insert the AC plug into a grounded outlet. Do not

remove the ground pin or disable the ground for any purpose. The main AC must be protected by a 20 Ampere circuit breaker.

• Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one

wider that the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong is provided replacement of the obsolete outlet.

• Before connecting the equipment, check that the main power supply voltage rating corresponds to

power supply. The rating of the main power supply voltage is printed on the equipment.

• If replacement of the ac line fuse and any internal fuse becomes necessary, replace only with same value and type of

fuse (110V: T1A Schurter FST 5x20; 220V: T800mA Schurter FST 5x20). Never bypass the fuse.

• It is imperative that these apparatus be operated in a well-ventilated

temperature be maintained as specified. Do not expose this apparatus to humidity, steam, smoke or excessive dampness or dust. Maximum permissible operating conditions: 0°C to 40°C, 20cooling fans may be required in some cases.

• Do not stack any equipment directly above or below this apparatus as to protect it from overheating, as well as the

continued functionality of any equipment near and around it.

• To completely disconnect the apparatus from the AC, completely remove the power cable from the main outlet.

• Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any

way, such as when the power-supply cord or plug-in damaged, liquid has been spilled, or object has fallen into the apparatus or the apparatus has been exposed to rain or moisture, does not operate normally or has been dropped.

• Do not expose this apparatus to dripping or splashing and ensure that no objects filled with liquids, such as vases, are

placed on the apparatus.

• The main plug of the power-supply cord shall remain readily operable.

TO COMPLETELY DISCONNECT THIS APPARATUS FROM THE AC MAINS, DISCONNECT THE POWER SUPPLY CORD PLUG FROM THE AC RECEPTACLE.

THIS SYMBOL IS INTENDED TO ALERT THE USER TO THE PRESENCE OF UNINSULATED "DANGEROUS VOLTAGE" WITHIN THE PRODUCT'S ENCLOSURE THAT MAY BE OF SUFFICIENT MAGNITUDE TO CONSTITUTE A RISK OF ELECTRIC SHOCK.

THE 220/110V SELECTION IS NOT AUTOMATIC.

It can only be made by an authorized person. Check with your reseller for further information.

3 INTRODUCING THE D-MON SERIES

This chapter introduces the D-Mon Series.

3.1 OVERVIEW

The D-Mon Series provides comprehensive monitoring solutions for professional recording, mixing and/or mastering studios. The different processor models are designed to meet varying needs ranging from simple stereo loudspeaker setups to more demanding surround sound installations. In each case, the processor provides three main functions: an advanced monitoring controller, loudspeakers to room tuner (Optimizer

Operations can be controlled via the D-Mon Control Panel (a web-based GUI, Graphic User Interface), or from a remote device (via Avid Eucon or Icon protocols, or General Purpose MIDI).

) and optional loudness metering (Smart-Meter®).

D-Mon Processor

D-Mon Control Panel GUI (common to all models)

Advanced Monitoring Control

•

Monitoring: source & speaker set selection, volume, mute, dim, talkback, listen-back, headphone and outputs control.

• Routing Matrix: any physical input or mix bus can be assigned to any physical output.

• Internal Mixer: physical inputs can be mixed to mono/stereo mix buses and routed anywhere.

• Studio Presets & Session Snapshots: customize the processor for your installation, and store and recall different monitoring

arrangements and DAW (Digital Audio Workstation) session setups.

Loudspeakers to Room Tuning (Optimizer®)

The Optimizer® provides digital acoustic correction. The algorithms are included with every processor; the number of Optimizer channels varies across the product range: D-Mon|4 offers four channels; D-Mon|6 offers six channels; and so on.

• Each Optimizer

channel can be re-assigned via presets to support multiple speaker sets.

• Multiple “sweet spot” presets can be saved for the same room – e.g. mixing seat, producer desk, musicians couch, etc.

• Advanced parameters meet the needs of different sound engineers - target curve, frequency, time & level alignment, etc.

• Other functions include down-mixing, graphic EQs, DRC emulation (Dynamic Range Compression), etc.

Optional Loudness Metering (Smart-Meter®)

The optional Smart-Meter® offers one of the most advanced Loudness Metering systems. It complies with EBU-R128 norms and other international standards, and is timecode-aware meaning that updates can follow every tweak made to a mix. Advanced session management tools allow loudness data to be attached to program files across both playout and server networks, or printed ahead of playout to ensure producers are fully informed of compatibility rules.

7.4.1

3.2 COMPARISON OF MODELS

The D-Mon model describes the number of available Optimizer® channels. Also, there are variations in the amount of I/O, and the internal summing and routing capabilities. The differences are summarized in the table below. Note that each model has been designed with the following applications in mind:

D-Mon|4: for studios (recording, mixing, mastering) where two stereo speaker sets would be the Main and Alternate selections.

D-Mon|6: for post-production studios where one surround (5.1) speaker set is mostly in use. Additional stereo setups or any

arrangement of six speakers can be easily stored and recalled.

D-Mon|8: for studios producing 7.1 programs or working simultaneously with one 5.1 and one stereo speaker set.

D-Mon|12: for 3D mixing rooms producing programs in 7.4.1 formats such as Dolby Atmos, Auro-3D and DTS-X.

Product Comparison D-MON|4 D-MON|6 D-MON|8 D-MON|12

DESIGNED FOR

CONNECTIVITY

DIGITAL IN (SUBD-25) 8 (4x AES3) 8 (4x AES3) 16 (2×4 AES3) 16 (2×4 AES3)

DIGITAL OUT (SUBD-25) 8 (4x AES3) 8 (4x AES3) 16 (2×4 AES3) 16 (2×4 AES3)

ANALOG IN (SUBD-25) 4 Line Level 8 Line Level 8 Line Level 8 Line Level

ANALOG OUT (SubD-25)*

*8 first channels are mirrored on direct XLR)

OPTIMIZER®

(DIGITAL ACOUSTIC TUNING)

ASSIGNABLE INTERCOM 2 x Talkback + 2 x Listen-back lines. Fully assignable with 2 x 48V-power analog inputs on MPIO.

WORD CLOCK BNC Input & Output

CONTROL PROTOCOLS Eucon (Avid MC5, S6). Icon D-Command & D-Control (X-Mon 15p cable). MIDI GPIO.

Stereo Mixing or

Mastering Studios

12 Line Level 12 Line Level 16 Line Level 16 Line Level

4 Channels 6 Channels 8 Channels 12 Channels

e.g. 2 x stereo pairs

or LCR+Lfe

5.1 Rooms for

Post-Production

e.g. 5.1 speaker set

or 3 x stereo pairs

or LCRS+1xSt

7.1 / Surround Sound Mixing Suites

e.g. 5.1 + 1 stereo pair

or 7.1 system or LCRS+2xSt

3D Mixing Rooms

(7.4.1)

e.g.

or 2 x 5.1 systems

GPIOS Fully assignable 2 in / 1 out (footswitch, remote commands).

REMOTE & LOCAL PARAMETERS (Specifications may vary with some controllers)

LEVELS Level / Mute / Dim / Dim Level

SOURCE SELECTION Fully Configurable

MONITOR SELECTION Uses programmable presets & profiles. (Limited by what’s physically available.)

ROUTING MATRIX Any physical input, mix bus or Optimizer® output to any physical output.

SUMMING MATRIX

(stereo buses)

OPTIMIZER SETTINGS Full control over Ethernet and/or from the Processor itself. (VGA/HDMI screen & USB mouse/keyboard.)

10 busses 14 busses 16 busses 16 busses

3.3 SYSTEM COMPONENTS

To configure and operate the system, you will need three hardware components:

• D-Mon Processor (always supplied): handles all audio processing, routing, mixing and I/O.

• Trinnov 3D-Microphone (optional): required during setup to perform the speaker/room calibration.

• Controlling Device (not supplied): this can be a networked device with a web browser interface or a physical controller.

D-Mon Processor

3D-Microphone (optional)

3.4 METHODS OF CONTROL

The D-Mon processor can be remotely controlled using a web-based GUI or an external controller.

3.4.1 THE D-MON CONTROL PANEL (GUI)

The D-Mon Control Panel is the main Graphical User Interface (GUI) for the system. Each D-Mon processor includes a dedicated web server and, therefore, the GUI can be accessed from a networked device with a web browser interface such as a desktop computer, laptop, smart phone, tablet, etc. The GUI appears as soon as you open a valid browser connection to the processor; no additional software is required. Multiple connections are supported; the last user’s changes always take affect and synchronise with other open connections. A range of pages provide fast access to everyday tasks as well as setup functions:

assigned the same functionality.

3.4.2 EXTERNAL CONTROLLERS

The D-Mon processor can also be remotely controlled. The level of integration depends on the protocol used. The options are:

Protocol or Hardware Connection Method Level of Integration

Avid EUCON IP/Ethernet (requires the D-Mon App) Specific Functions + GPIOs

Avid ICON “ICON” MPIO Specific Functions + GPIOs

Generic MIDI “MIDI” MPIO GPIOs

Griffin Volume Controller USB Speaker Volume + Mute (or Talkback)

Trinnov Protocols (proprietary) Dependent on the interface

Avid EUCON

To use a control surface based on Internet Protocol (IP) and/or Ethernet, like the Avid S6, then an additional software application is required – the “DMon” App. The App must be installed on the DAW (Digital Audio Workstation) which is linked to the control surface. It can be downloaded, for free, from the Trinnov website. The App detects which control surface(s) and D-Mon processor(s) are available within the network; which versions of software are in use; and which protocols can be used. It also includes a dedicated internet browser that automatically opens the D-Mon Control Panel.

Avid ICON Series / Generic MIDI Devices

Alternatively, an Avid ICON Series control surface such as the D-Command or D-Control, or any MIDI programmable device can be connected via the MPIO (Multi-Purpose In/Out) connector. In this instance, no additional software is required. Two different MPIO breakout cables are available:

• An "ICON" MPIO which has a DB15 ICON connector to connect to a D-Command/D-Control.

• A "MIDI" MPIO which is generic.

For more details, please see Chapter 8: External Control.

Griffin USB Volume Controller

This option provides physical control of speaker volume and mute (or talkback) functions. The hardware must connect either directly to the USB port of the D-Mon processor (front or rear), or to a DAW running the D-Mon App. Note that connection via the web GUI is not supported (the D-Mon App is required). Multiple controllers can be installed – in this instance; all controllers will be

Trinnov Protocols

Other interfaces such as the Colin Broad TMC-1 support Trinnov proprietary protocols. For more details, please contact your local Trinnov representative.

Functionality

The D-Mon Control Panel GUI assigns the processor’s available functions as follows:

• SESSION SETTINGS -> Remote Controllers – maps functions such as speaker sets, monitor sources and cues to Avid

EUCON or ICON control surfaces.

• STUDIO SETUP -> Remotes – maps Talkback, Mute, Dim and AES Insert switching to the GPIOs. Options for the Griffin USB

Volume Controller are also configured here.

ATTENTION!

A B C

4 THE D-MON PROCESSOR

This chapter provides an overview of the D-Mon processor hardware.

For more details on installing the processor, or wiring to and from the unit, please see Chapter 6: Installation & Setup.

4.1 FRONT PANEL

Function D-Mon Model

#A ON/OFF switch Used to boot-up and shut down the CPU.

This switch should ALWAYS be used to shut down the processor BEFORE using the rear panel ON/OFF switch to cut the power.

#B 1 x USB 2.0 port Used to attach a remote controller like a mouse or a volume knob, or for

inserting a USB key to save your preset and setup.

“D-Mon|8” label Indicates the D-Mon Series model number. ALL

ALL

4.2 REAR PANEL

Function Connector D-Mon Model

#1 Power plug: 220/110V (specified on order) CEE Main ALL

#2 ON/OFF mains switch: applies power to the whole unit. n/a ALL

#3 VGA Output SubD 15p ALL

HDMI Output HDMI ALL

#4 Mouse, keyboard or memory-stick inputs 4 x USB 2.0 ALL

#5 Ethernet port (Cat5/6) RJ-45 ALL

#6 AES Inputs & Outputs 1-8 (4xAES3) SubD-25

#7 AES Insert 1-8 (4xAES3) SubD-25

#8 Analog Inputs 1-4 SubD-25

Analog Inputs 1-8 SubD-25

#9 Analog Outputs 1-8 SubD-25

XLR-3

#10 AES Inputs & Outputs 9-16 (4xAES3) SubD-25

#11 Analog Outputs 9-12 SubD-25

Analog Outputs 9-16 SubD-25

ALL

D-Mon|4

D-Mon|6, 8 & 12

ALL

D-Mon|8 & 12

D-Mon|4 & 6

D-Mon|8 & 12

#12 Multi-Purpose Inputs & Outputs SubD-25 ALL

#13 75Ω Wordclock input & output 2 x BNC ALL

SubD-25 audio connectors are wired according to the TASCAM standard – see 9.1.1 Audio SubD-25 Connectors.

ATTENTION!

switching off the

5 QUICK START

This chapter provides a quick start to get you up and running as quickly as possible.

We will assume that the D-Mon processor is already installed and configured – i.e., all connections made; all speaker sets defined and calibrated; the correct clock signal selected; etc. If not, please see Chapter 6: Installation & Setup.

Note that all the functions of the D-Mon Control Panel GUI are covered in more detail later in Chapter 7.

5.1 POWERING ON / BOOTING UP

Providing the processor has been fully installed and configured, it can be booted from the front panel.  Press the front panel ON/OFF button to switch ON the processor:

Turn ON here

You will hear a click from the internal relay, and the ON button illuminates as shown above. The processor will take a few seconds to boot, so please wait a little while before opening the GUI.

At the end of the boot-up procedure, the processor recalls a specific preset (see 7.6.5: Setting the Default Preset.) This should reset the processor’s configuration so that it meets the needs of your studio.

To turn off the unit, ALWAYS use the front panel ON/OFF button to shut down the processor BEFORE mains power.

Optimizer &

5.2 OPENING THE GUI

The D-Mon Control Panel (DMCP) can be accessed by opening a browser connection to the D-Mon processor from a networked device such as a desktop computer, laptop, smart phone or tablet.

System Requirements

•

The device must be connected to the same IP network as used by the D-Mon processor.

• The device must support a suitable web browser: Chrome (recommended), Safari, Internet Explorer, Firefox, etc.

• The D-Mon processor’s network connection and IP settings must be properly configured (see 6.2.2: Setting up the CPU).

Opening the GUI

 Start your browser software and type the IP address of the D-Mon processor into the search bar – for example:

The IP address of the D-Mon processor can be found in the “About” and “Setup -> Network” tabs of the

Processor Control Panel (OPCP) during the setup of the processor. See 6.2.2: Setting up the CPU.

 Press Enter – the GUI’s CONTROLLER page should appear:

Trouble-shooting

If the GUI does not appear, then check:

• Is the D-Mon processor booted? (the front panel ON button should be lit)

• Have you entered the correct IP address?

• Are both the D-Mon processor and your networked device connected to the same IP network? (You can check the network

settings of the D-Mon processor from the OPCP GUI using the “Setup -> Network” tab. See 6.2.2: Setting up the CPU

5.3 RESIZING THE GUI

Before using the GUI, please check the screen resolution. In our example below, some functions are “missing” from the bottom of the CONTROLLER page as the GUI is being viewed on a 16:9 computer screen.

CONTROLLER Page (viewed at 16:9)

The GUI is optimized for 4:3. Therefore, please adjust your browser’s window size and screen resolution accordingly.

You should now be able to see all parameters clearly - in our example, the headphones ON/OFF button, source select and volume.

CONTROLLER Page (resized for 4:3)

The processor’s model number can also be selected – in our example, D12. This opens the Processor Control GUI in a new

5.4 PAGES & NAVIGATION

The D-Mon Control Panel supports six pages – use the icons at the bottom of the GUI to change page:

If you hover the cursor over an icon, then the page name is displayed (e.g. CONTROLLER).

The six pages are:

• CONTROLLER – this is the main operational page (shown above). From here you can perform everyday tasks such as select

a monitor source; switch between speaker sets; talk to a destination, and adjust speaker and headphone volume.

• SESSION ROUTING – controls the routing matrix. Here you can see the results of any automated switching, and make

manual assignments for the session such as routing a mix bus to its output destination.

• MONITORING MIXER – controls the summing of the session’s sources onto mix buses.

• SESSION SETTINGS – defines parameters which apply to the session such as the sources, mix buses and outputs.

• STUDIO SETUP – defines parameters which apply to the studio such as the speaker sets, audio clock signal, etc.

• CONFIGURATION PRESETS – opens a pop-up menu where you can recall either a snapshot (to reset session parameters) or

a preset (to reset the complete unit). The MANAGE button opens a full-size page with further file management options.

browser window. It is used for setup functions such as the speaker/room calibration and is described later in this manual (see

6.4.1: Working with the DMCP & OPCP).

5.5 CONVENTIONS

In general, a color (usually green) indicates when something is enabled. So, in our example above, the CONTROLLER page is selected; the source named Main (on the left) is assigned to Spk A (on the right); the speaker listening level is open (indicated by the central rotary slider); the HEADPHONES are turned ON and the headphone level is open (indicated by the horizontal slider).

5.6 RECALLING A PRESET

At this stage, it is a good idea to recall a preset to be sure that the processor’s speaker sets, and other studio-related parameters, are configured correctly. Presets will be described in more detail later. For now, use the following steps to reset your system:

 Select CONFIGURATION PRESETS from the page icons at the bottom of the GUI – a pop-up menu appears.  Check that the STUDIOS PRESETS tab is selected and scroll up/down to view the available presets.  Click on a preset name to load its settings: e.g. Dubbing session.

It will take a second or two to load the new configuration; the preset highlights in green once the recall is complete.

CONFIGURATION PRESETS -> STUDIO PRESETS

 Click on the X (at the top right of the menu) to close the CONFIGURATION PRESETS pop-up.

For more details on snapshots and presets, please see 7.6: CONFIGURATION PRESETS.

Click here to open pop-up menu

Preset Recall Complete

The contents of the SOURCES (#1), SPEAKERS (#3) and OUTPUTS & TALKS (#4) areas will vary depending on the

1 5 4

5.7 DAY-TO-DAY OPERATION

Once your processor is configured, all everyday tasks can be operated from the CONTROLLER page:

Area Primary Function

#1 SOURCES Click to monitor an incoming source (e.g. Main) on the selected speaker set (#3).

#2 Speaker Level Click and drag to adjust the speaker level.

SPEAKERS Click to select a speaker set (e.g. Spk A) – the individual speaker buttons update accordingly.

#4 OUTPUTS & TALKS Click to monitor a mix or output on the selected speaker set. You can also talk to a mix bus if

talkback is configured.

#5 HEADPHONES Click to enable the headphone output (ON/OFF), select a source (e.g. Main) and adjust the level.

configuration and D-Mon processor model. The screenshot above is taken from a D-Mon12 processor after recalling the Built-in preset.

OUTPUTS &

In more detail…

Area Operations

#1 SOURCES (IN) Manages all incoming sources defined in the SESSION SETTINGS.

#2 Speaker Level Adjusts the listening level for the speakers (applies to all speakers within all speaker sets):

SPEAKERS (OUT) Manages all speaker sets defined in the STUDIO SETUP -> Speaker Sets.

TALKS

#5 HEADPHONES Controls the stereo headphone output.

For more details on any of the above operations, please see 7.1: The CONTROLLER Page.

 Click to monitor a source on the selected speaker set.  Use the TOGGLE and SUM buttons to determine whether selections are exclusive or additive. You

can listen to any combination of sources (#1) and/or outputs (#4).

You may also see an AES INSERT ON/OFF button and an INS indicator beside some sources (if the “AES 1-8 Insert” option in the STUDIO SETUP -> Inputs & Outputs is enabled):

 Use the ON/OFF button to switch the AES insert return in and out of the circuit. See 7.1.10:

Switching the AES 1-8 Insert for more details.

 Click and drag on the dB value to increase or decrease the speaker level.  Click on DIM to reduce the listening level – the button lights in orange when enabled.  Click on MUTE to cut all speakers within the speaker set – the button lights in red when enabled.  Click on Ref to reset the listening level to the reference value.

The speaker level can be displayed as an unreferenced dB value (as shown above), referenced to the calibrated speaker measurement or displayed as a Commercial Cinema way (from 0 to 9.9). This, plus the dim, reference and maximum speaker level are defined under STUDIO SETUP -> Options/Levels.

 Click to switch to a different speaker set (if more than one is configured). A green “V” (from the

Trinnov logo) appears beside each optimized speaker set.

 The buttons at the bottom of the SPEAKERS area can be used to solo, deliver pink noise to, or

mute an individual speaker. First, choose the mode (e.g. SOLO), and then select a speaker (e.g. C). Each of the functions is color-coded to clearly indicate when a speaker is muted (red), in solo (yellow) or sending out pink noise (turquoise).

 Click on DownMix or DRC (Dynamic Range Compression) to enable these functions. The drop-

down menu chooses the downmix format (e.g. Stereo).

Manages all mix buses and outputs defined in the SESSION SETTINGS.

 Click on the button name (e.g. Mix – Output #1) to listen to the mix on the selected speaker set.  Use the TOGGLE and SUM buttons (under #1 SOURCES) to determine whether selections are

exclusive or additive. You can listen to any combination of sources (#1) and/or outputs (#4).

If talkback to a mix bus is enabled in the SESSION SETTINGS page then you will see the relevant master SLATE button(s) plus a talkback symbol (on the right of the button name):

 Click on the talkback symbol to open a communication line between the talkback input and the

selected destination. Click again to close the talkback line. Note that several talkback lines can be open at the same time.

 Use the SLATE 1 and SLATE 2 buttons to talk to multiple destinations: SLATE 1 talks to ALL

destinations assigned to talkback input 1, and SLATE 2 to ALL destinations assigned to talkback input 2. The SLATE buttons override any individual talkback selections.

If the listen-back inputs are enabled in the STUDIO SETUP -> Inputs & Outputs, then the relevant LISTEN buttons will appear:

 Click on LISTEN 1 (or LISTEN 2) to monitor the listen-back input on the selected speaker set. Click

again to cancel the listen-back.

Listen-back can be used to return talkback from a particular studio location – for example, to “listen in” to the conductor’s microphone during a recording session.

 Click on the ON/OFF button to activate/deactivate the headphones.  Use the drop-down menu to select the monitor source – you can choose any of the sources,

mixes or outputs defined in the SESSION SETTINGS page, or a listen-back input if they are enabled. If Phones source follow monitor is selected, under SESSION SETTINGS -> Options, then the headphones will automatically follow the speaker source selection.

 Click and drag on the horizontal slider to increase or decrease the headphone level. If you hover

the cursor over the slider, then a text read-out of the level is displayed. A maximum headphones level can be defined under STUDIO SETUP -> Options/Levels.

5.8 MODIFYING THE CONFIGURATION

If the contents of the CONTROLLER page do not meet the needs of the session, then you will need to modify the configuration. First, it is useful to understand how the GUI pages interact, and how settings are saved using snapshots and presets.

5.8.1 USING THE GUI PAGES

The diagram below shows how the CONTROLLER page is affected by the SESSION SETTINGS and STUDIO SETUP parameters:

The system has been designed with the following in mind:

• All studio-specific parameters can be found in the STUDIO SETUP. They include the definition of the speaker sets (shown

above) and other parameters such as the talkback and listen-back input assignments, audio clock options, etc.

• At a level above the STUDIO SETUP are all session-related parameters. These are defined in the SESSION SETTINGS,

SESSION ROUTING, and MONITORING MIXER pages. The SESSION ROUTING and MONITORING MIXER will be described

later in chapter 7: The D-Mon Control Panel (GUI). For now, we will concentrate on the SESSION SETTINGS page which defines the sources, mix buses and outputs.

1 About the Speaker/Room Calibration

5.8.2 ABOUT SNAPSHOTS AND PRESETS

To save and load settings, the system uses two different file types:

• A studio preset stores everything required to reset the D-Mon processor – i.e. all the D-Mon Control Panel GUI parameters

plus other lower-level settings defined during installation (such as the Optimizer channels

• A session snapshot stores only session-related parameters – i.e. the current state of the CONTROLLER page, plus the

SESSION SETTINGS, SESSION ROUTING and MONITORING MIXER.

You should use presets to store settings for the studio – for example, different monitoring arrangements. Then use snapshots to store settings for each DAW session – for example, the sends and returns to the DAW and studio floor.

This allows you to reset the unit completely using only a preset. OR, recall a preset followed by a snapshot to apply different session-related parameters to different monitoring arrangements.

For more details on managing snapshots and presets, see Chapter 7.6: CONFIGURATION PRESETS.

5.8.3 RECOMMENDED WORKFLOW

During Installation

The STUDIO SETUP parameters and, in particular, the speaker sets1 and audio clock, should be configured during installation. As a result, you should already have some user presets which will customize the D-Mon processor for your studio and its monitoring arrangements. See 5.6 Recalling a Preset.

Note that, if you make changes to the STUDIO SETUP parameters, then you must remember to create a new preset, or overwrite an existing file, to store the changes.

Before a New Session

Before each new DAW session, you can then configure the necessary SESSION SETTINGS, SESSION ROUTING and MONITORING MIXER parameters. These should be saved in snapshots for recall after a reboot or at a later date.

It is strongly recommended that you save regularly so that you can recall a snapshot if you make a mistake while editing the session configuration.

Everyday Operation

Once both the studio and session parameters have been defined, the system is ready for operation from the CONTROLLER page.

Each speaker set requires calibration for your listening environment. This is handled by the D-Mon processor’s Optimizer®; the number of available Optimizer channels varies according to your D-Mon model.

The definition of each speaker set is handled by the D-Mon Control Panel (DMCP) GUI. Select the STUDIO SETUP -> Speaker Sets tab to view the current configuration. The calibration procedure is then performed at a lower level using the Optimizer & Processor Control Panel (OPCP) GUI. This can be opened in a new browser window by clicking on your D-Mon model number (e.g. D|12).

Both the definition of the speaker sets and their calibration should be handled during the installation of the D-Mon processor, and stored in presets. You can then recall a preset to reset the system. Note that several presets can be created to support multiple monitoring arrangements and “sweet spots” within your studio (e.g. mixing seat, producer desk, etc).

See 6.4: Configuring the System for more details.

ATTENTION!

5.9 EDITING THE SESSION SETTINGS

At the top of the SESSION SETTINGS page, you will see the available SOURCES, MIX BUSES and OUTPUTS for the session. These determine what resources are available in the main CONTROLLER, SESSION ROUTING and MONITORING MIXER pages as described earlier (see Using the GUI Pages).

Possible Operations

For each type of resource:  Click on the ADD + button (at the bottom of each section) to configure a new entry - the resource is given a default name

(e.g. Mixbus #16) and a generic set of parameters (Level = 0dB, Format = Stereo, TB = off, MAIN = on, PATCH = on):

Click here to ADD a resource

The maximum number of SOURCES and OUTPUTS is limited only by the number of physical inputs and outputs.

The maximum number of MIX BUSES depends on your D-Mon model (see 3.2 Comparison of Models). The available number of mix channels is stated on-screen. In our example, Available Mix channels: 10/16 means that we have 10 mono mix buses remaining from the 16 available in our D-Mon 12.

 Click on a parameter to edit its value – all parameters are available for all resources, except for talkback which can only be

enabled for mix buses, and levels which can only be adjusted for sources and mix buses. The available parameters are covered on the next page.

 Click on the DELETE symbol (in the right-hand column) to remove a resource.

There is no undo for the delete operation, so take care when selecting this symbol! Deleting a SOURCE, MIX BUS or OUTPUT will remove it from the CONTROLLER, SESSION ROUTING and MONITORING MIXER pages.

Configuring Cue Feeds

Available Parameters

• Name – click to edit the name. You can click once to position the cursor, or double-click to select the text you wish to

overwrite. Type in a name; the usual copy, cut and paste functions are available. Each name can be up 16 characters, and all alphabetical and numerical signs are accepted.

• LEVEL (SOURCES and MIX BUSES only) – click and drag on the slider to adjust the source or mix bus level. Alternatively,

double-click on the white text field, type in a value (e.g., 6dB) and press Enter. (Does not accept decimal numbers)

• FORMAT– click to choose a format from the drop-down menu. If you choose a surround format, then the component

channels are always allocated in the same order, up to the relevant number of channels: L, R, C, Sub, Ls, Rs, Lrs, Rrs, HL, HR, HLs, HRs.

• TB #1, TB #2 (MIX BUSES only) – click to enable talkback to the mix bus from either or both of the talkback inputs. Once

enabled, the relevant master SLATE button(s) plus a talkback symbol appear on the CONTROLLER page, see 7.1.8: Talking to an Output.

• MAIN & PATCH – the “eye” icons determine whether a resource is visible in the MAIN (CONTROLLER) and PATCH (SESSION

ROUTING) pages. When enabled, the icon lights in green. Typically, this feature is used to hide a resource from the CONTROLLER page - for example, to hide a tone source or cue output (see the tip below).

If you wish to use the D-Mon processor to handle your session’s cue feeds, then you should add both a mix bus and an output for each cue – for example:

Once added to the SESSION SETTINGS, each cue mix can be adjusted from the MONITORING MIXER page, and each cue mix routed to its output from the SESSION ROUTING matrix. To make the connections, you will need to leave all the PATCH icons enabled (so that both the cue mixes and their outputs are visible in the SESSION ROUTING).

TB 1 is enabled for the Conductor Mix and TB 2 for the Musician Mix – this will allow independent talkback to each cue bus from the CONTROLLER page. To make sure you can access the talkback switching and monitor the cue bus, you should leave the MAIN icons enabled for the cue mixes (so that they are visible in the CONTROLLER page).

However, it is recommended to disable the MAIN icons for the cue outputs. This will simplify the CONTROLLER page, where it is not necessary to view both the cue mix and its output.

Note that the cue mix LEVEL can be set as you wish. This is the same as the cue mix fader level in the MONITORING MIXER.

For more details on the remaining SESSION SETTINGS, please see 7.4: SESSION SETTINGS.

5.10 SAVING A SNAPSHOT

To save any changes to the SESSION SETTINGS, you should save a snapshot. There are two possibilities: overwrite an existing snapshot or create a new file.

To overwrite an existing snapshot:

 First, select CONFIGURATION PRESETS from the page icons at the bottom of the GUI – a pop-up menu appears.  Check that the SESSION SNAPSHOTS tab is selected and scroll up/down to view the available snapshots.  Click on the Overwrite icon (to the right of the file name) - a red OVERWRITE button appears.  Click on the button to confirm – the current settings are written into the existing file:

Click on Overwrite icon

 Click on the X (at the top right of the pop-up menu) to close the CONFIGURATION PRESETS pop-up menu.

For more details on managing snapshots and presets, please see 7.6: CONFIGURATION PRESETS.

Click on Overwrite button to confirm

5.11 NEXT STEPS

This completes the quick start.

For more details on any of the GUI pages, please see Chapter 7: The D-Mon Control Panel (GUI).

ATTENTION!

6 INSTALLATION & SETUP

This chapter covers the installation and setup of the system.

Here we will focus on a stand-alone installation to be controlled via the D-Mon Control Panel GUI. If you wish to connect an external control surface, then please see Chapter 8: External Control for additional information.

You should read and observe ALL of the Important Safety Instructions BEFORE installing or operating your system.

Installation Checklist

To install and setup the device, you will need to:

• Unpack and check the contents of the shipping box.

• Start up the processor and configure its network connection.

• Connect the audio devices & other wiring (Wordclock, GPIOs, etc.)

• Configure the system – create and calibrate the speaker sets, define the audio clock, etc.

Further Information

Additional installation and wiring diagrams can be found in the Appendices, see 9.1: Wiring Diagrams.

6.1 WHAT’S IN THE BOX?

Your shipping box includes the following items. Note that some items are optional.

Please check the contents, and in the event of any transport damage, contact the Trinnov service department at

support@trinnov.com

Item

Processor (19”, 2U Rack)

Mandatory.

Power chord

Mandatory.

3D-Microphone (optional)

Required for speaker/room calibration.

3D-Mic breakout cable (optional)

For quick connection of the 3D-Microphone to the analog inputs available on Sub-D25.

MPIO breakout cable “ICON” (optional)

To connect a D-Mon processor to an Avid ICON control surface such as DCommand or D-Control. Discrete inputs & outputs: GPIOs, Listen-back, LTC.

MPIO breakout cable “MIDI” (optional)

To connect a D-Mon processor to a MIDI controller. Discrete inputs & outputs: MIDI I/O, Talkback, Listen-back, Headphones, GPIOs, LTC.

USB Volume Controller (optional)

For physical control of speaker volume and mute (or talkback) functions.

ATTENTION! ATTENTION!

next page.

6.2 STARTING UP THE D-MON PROCESSOR

Before passing any audio signals, you should make sure that the D-Mon processor is booted and correctly setup. We recommend you do this before installing the unit into its final location (rack or housing), so that it is easier to access the connectors and switches.

Please follow each of the steps carefully and take note of all comments.

The location of all switches and connectors (#) can be found by referring back to topics 4.1: Front Panel and 4.2: Rear Panel.

6.2.1 BOOTING UP THE CPU

Step Instructions Comments

1 Connect the unit to an appropriate power

socket.

2 Switch ON the mains using the rear panel

switch (#2) to apply power to the unit.

3 Connect a VGA or HDMI screen to the

connectors (#3). Power up this device.

Connect a USB mouse to one of the rear ports

(#4) or to the front panel (port #B).

5 Connect an Ethernet cable (RJ45-CAT5/6) to

the network port (#5).

Switch ON the front panel button (#A) to boot

up the processor.

ALWAYS use this switch to shut down the processor BEFORE powering off from the rear panel.

THE 220/110V SELECTION IS NOT AUTOMATIC.

NEVER use this switch to shut down the processor. Instead, use the front panel ON/OFF switch (#A) to shut down

BEFORE switching off the mains power.

The screen and mouse can be removed once the unit’s network connection is established. However, they are highly recommended when starting up for the first time as they provide easy access to the initial parameters.

The other side of the cable should connect to a DHCP router; any switch is allowed. The router will require internet access to allow the download of software updates and control setups at a later stage.

The following should happen:

 Fans start to turn and then become silent.  You will hear one click from an internal relay.  The front panel ON switch illuminates.  The screen displays the boot-up sequence.

It can only be made by an authorized person. Check with your reseller for further information.

Once successful, the D-Mon processor is up and running!

The next steps are to configure the CPU’s network access so that the processor can be remotely controlled from a networked device.

7 Check the statuses displayed on the screen. The D-Mon firmware should display the following on your VGA or

HDMI screen:

 Intel logo  Trinnov logo  Trinnov boot page  Optimizer & Processor Control Panel (OPCP) as shown on the

––––––––––

Here you will see the following important

: the IP address of the system. If an address is

to a DHCP network, you

are missing, check your Ethernet

Manually specify

IP settings

6.2.2 SETTING UP THE CPU

Step Instructions Comments

1 From the Optimizer & Processor Control Panel

(OPCP), select the “About” page:

information which should be noted down for future reference:

3 Select the “Setup” page followed by the

“Network” sidebar tab:

4 By default, the system is set to receive its IP

address via DHCP. Therefore, if the unit has been connected should see the following:

 Product ID: required for remote control via VNC.  Serial Number: required for future connection via Ethernet.  Microphone Number: required during the calibration procedure.  License: the number of licensed Optimizer channels. This MUST

match the processor’s model number: 4, 6, 8 or 12.

 IP address

present, then network access is already configured.

 Automatically get parameters (use DHCP) button is on.  The “IP address” and “Netmask” fields are properly completed.  The sentence “Connected to Trinnov Audio Server” is displayed.

If any of the above conditions cabling and IP settings. If necessary, click the network parameters option to enter the processor manually. Please contact your network administrator for details.

At this stage, it is a good idea to test the network communication by opening a browser connection to the processor, see 5.2: Opening the GUI.

The OPCP GUI (shown above) is used for other setup functions such as calibration and audio clock selection. These will be described later in this chapter.

ATTENTION!

8 on

6.3 STUDIO INTEGRATION & WIRING

This section describes each of the rear panel connectors and their intended signal assignments.

D-Mon Processor Rear Panel

6.3.1 AUDIO CONNECTORS

All SubD-25 audio connectors are wired according to the Tascam standard – see 9.1.1: Audio SubD-25 Connectors.

Connector Model Function

AES I/O 1-8

SubD-25

#7 AES I/O INSERT

SubD-25

ALL Connects signals to and from your DAW session in the digital domain:

AES In 1-8 (4xAES3) = the main signals coming from your DAW session, such as the main mixes, aux sends, discrete tracks, etc.

The routing of inputs is fully flexible and any combination of formats is possible - for example: 4 x stereo; 1 x 5.1 + 1 x stereo; 1 x 7.1; and so on.

AES Out 1-8 (4xAES3) = signals returning to your DAW session, such as the analog inputs OR AES insert returns (if the INSERT is active).

ALL Designed to offer an instant comparison between say a dry main mix (up to 7.1) and

the wet mix returning from an external digital effects processor. The 8 AES in/out should be wired to and from the insert sends and returns of the external processor.

The insert sends ALWAYS follow the signals assigned to AES In 1connector #6.

When the INSERT is active, all eight returns are switched to AES Out 1-8 on connector#6. This means:

INSERT OFF = AES 1-8 signals come from AES In 1-8 on connector #6. INSERT ON = AES 1-8 signals come from AES In 1-8 on connector #7.

Insert switching is ALWAYS made in one block; it is not possible to insert less than eight signals. Note that inserts are direct outputs extracted at the AES input stage. This means that no processing delay is added.

, we

ATTENTION!

Connector Model Function

ANA IN 1-4 ANA IN 1-8

SubD-25

D-Mon|4 D-Mon|6, 8, 12

Designed to connect incoming signals from analog studio equipment like recorders, players, and external signal processors. Inputs 1 & 2 are reserved for Talkback and Listen-back and include phantom power (see note below).

When performing an acoustic calibration via the Optimizer

, you will need to connect the 3D-Microphone (4 channels) to the 4 first analog inputs. Therefore recommend wiring these inputs to a patchbay which is easily accessible.

If you are swapping out an X-Mon and/or want to remain in the analog domain, these inputs can carry the main mix or/and auxiliary signals.

Talkback and Listen-back can be moved to other inputs (analog or digital), but they will lose their phantom power, and cease to appear on the MPIO (see connector #12).

#9 ANA OUT 1-8

SubD-25/XLR-3

AES I/O 9-16

#10

SubD-25

ALL These outputs should connect first to your loudspeakers and then to other analog

devices such as live headphones, recorders and external signal processors. Some suggested arrangements are:

D-Mon|4: main stereo speaker set on 1-2; alt stereo speaker set on 3-4; miscellaneous signals on 5-8.

Up to 4 optimized speakers can be tuned at a time. D-Mon|6: main speaker set (e.g. 5.1) on 1-6 [L, R, C, Lfe, Ls, Rs]; alt stereo

speaker set (non-optimized) on 7-8. Up to 6 optimized speakers can be tuned at a time. D-Mon|8: main speaker set (e.g. 7.1) on 1-8 [L, R, C, Life, Ls, Rs, Lrs, Rrs]. Up to 8 optimized speakers can be tuned at a time. D-Mon|12: small 3D audio setup (e.g. 7.1.4 or 9.1.2). This connector carries the

first eight outputs; the remaining four outputs are carried by connector #11. Up to 12 optimized speakers can be tuned at a time.

Both connectors (XLR and SubD) carry the same signals. ………………………………...

D-Mon|8, 12 Designed to connect signals to and from your digital studio equipment like external

processors, recorders, etc.

When using multiple digital devices, take care that the whole studio is correctly synchronized by installing an appropriate word clock generator and distributing the clock signal via a “star” wiring network.

Note that digital gear is always sensitive to proper earthing of all digital devices in the loop.

………………………………...

#11 ANA OUT 9-12

ANA OUT 9-16

SubD-25

D-Mon|4, 6 D-Mon|8, 12

Outputs 9 & 10 are reserved for headphones (see note below). You should then connect any other analog devices not covered by connector #9 – for example, nonoptimized loudspeakers, live headphones, recorders, external signal processors, etc.

Some suggested arrangements are:

D-Mon|4 & 6: headphones on 9-10; miscellaneous signals on 11-12. D-Mon|8: headphones on 9-10; miscellaneous signals on 11-16. D-Mon|12: headphones on 9-10; the remaining four optimized speaker channels

on 11-14; miscellaneous signals on 15-16.

The headphones can be moved to other outputs (analog or digital), but will require an external headphone amplifier, and cease to appear on the MPIO (see connector #12).

ATTENTION!

generator and

can be used to send Wordclock to another digital

6.3.2 MPIO & BNC CONNECTORS

Connector Model Function

Multi-Purpose I/O

#12

SubD-25

#13 WORDCLOCK IN & OUT

2 x BNC (75Ω)

ALL This multi-purpose connector carries the following signals:

• MIDI input & output: compliant with the General MIDI 2 standard

• Talkback input: balanced input (with phantom power)

• Listen-back input: balanced input (with phantom power)

• Headphone output: stereo unbalanced output

• 2 x GPI and 1 x GPO

The MPIO connector handles both audio and control signals. Specific breakout cables are available for different devices: either MIDI (for

generic devices) OR Avid ICON (for D-Command & D-Control). The Talkback and Listen-back inputs are hard-wired to analog inputs 1 & 2

(on connector #8). The Headphone output is hardwired to analog outputs 9 & 10 (on connector #11). If any of these signals are re-assigned, then they will NOT appear on the MPIO connector.

See Appendix 9.1.2: Multi-Purpose In/Out (MPIO) SubD-25 Connector for wiring information.

ALL

When using multiple digital devices, you should take care that the whole studio is correctly synchronized by installing an appropriate word clock distributing the clock signal via a “star” wiring network.

• WORDCLOCK IN – accepts Wordclock from the master generator.

• WORDCLOCK OUT –

device.

is not

6.4 CONFIGURING THE SYSTEM

There are some configuration tasks which should be performed when you install a system. These are:

• Define and calibrate the speakers (using the Optimizer

• Define the audio clock signal.

• Define other studio-related parameters such as the talkback and listen-back inputs.

• Save all settings in a preset (or presets).

It is strongly recommended that you create and update a preset throughout the configuration process. This will ensure that

you do not lose any settings should the processor reboot.

6.4.1 WORKING WITH THE DMCP & OPCP

Some of configuration tasks can be performed from the D-Mon Control Panel (DMCP), while others can only be accessed from the Optimizer & Processor Control Panel (OPCP). Therefore, the remainder of this chapter will refer to both GUIs.

Both GUIs can be accessed by opening a browser connection to the processor from a suitable networked device.

See 5.2: Opening the GUI for details on opening the D-Mon Control Panel (DMCP).

From the DMCP, click on the D-Mon processor model number (e.g. D|12) to open the Optmizer & Processor Control Panel (OPCP) in a new browser tab:

D-Mon Control Panel (DMCP)

The Optmizer & Processor Control Panel (OPCP) is a lower-level interface to the D-Mon processor that the DMCP GUI. Use the page buttons running across the top of the GUI to access its pages (e.g. Optimizer Settings, Optimizer Graphs, etc.).

Many parameters can be accessed from both interfaces in parallel and, in this case, the DMCP GUI is recommended.

Therefore, only the necessary OPCP functions are described in this manual. If an OPCP page/tab/parameter described, then please assume that the same function can be controlled from the DMCP GUI and is covered in Chapter 7.

Optimizer & Processor Control Panel (OPCP)

6.4.2 USING THE OPTIMIZER & 3D-MICROPHONE

Before calibrating the system, it is useful to understand more about the Optimizer and 3D-Microphone.

6.4.2.1 “OPTIMIZER”: THE TRINNOV DIGITAL ACOUSTIC CORRECTION

The “Optimizer” is a digital processing module included in every D-Mon processor. It provides studio monitoring loudspeakers with the best possible response according to the particular room where they are installed. This means that no “pre-calibration” can be made before installation and that after a change to the room or speakers, a new calibration should be made.

Thanks to advanced, patented and unique algorithms, the Optimizer module can fix acoustic problems such as changes in energy response, frequency response, time alignment, level alignment, early reflections interferences, room modes, phase coherence, and so on. The system works by assigning a dedicated “filter” channel to each loudspeaker within an Optimized Speaker Set. Thus, depending on the D-Mon model number, multiple speaker configurations can be handled at the same time.

Thanks also to presets, it is possible to manage the same loudspeakers in different arrangements – for example, create an optimized stereo pair from the LR of a 5.1 setup. Or, handle lots of different loudspeakers – for example, a D-Mon|6 could handle 12 different loudspeakers by using presets for 3 x optimized stereo pairs OR 1 x 5.1.

Making it happen:

The D-Mon processor must be installed at the final stage in the audio chain before the loudspeakers. This allows the Optimizer to process all the signals to be played out from the “tuned” loudspeakers (as with a standard loudspeaker EQ):

Your studio’s mixing gear

Analog console,

DAW Audio Interfaces,

Mastering, Externals

Then, to compute the “correction filter” applied by each Optimizer channel, you must perform a calibration run:

i. This process requires the Trinnov 3D-Microphone to be placed at one or more listening points to sample how the room

reacts – for example, at the mixing position, the producer’s couch, etc.

ii. At each listening point, the D-Mon processor generates a special noise (MLS bursts) and outputs this to the loudspeakers.

It then samples how the noise bursts are reproduced.

iii. By comparing the generated noise bursts with the speakers’

reproduction, the processor can calculate the most appropriate correction filters to apply. Lots of graphs are also generated at this stage to help with user-defined fine tuning.

iv. Following this initial acoustic tuning, many fine adjustments can be

made to the frequency response, phase coherence, latency, impulse response, etc. via the OPCP GUI (shown opposite). Depending on the actual acoustic situation, the Optimizer makes the best compromise between all user-defined parameters.

v. The final tunings can be stored in presets. This allows you to store

and compare alternate fine tunings as required.

From here on, you will have the best possible sound from your room AND your loudspeakers.

Your Speaker Sets

5.1,

Stereo A,

Stereo B

On/Off Button

Mic number

6.4.2.2 THE TRINNOV 3D-MICROPHONE

The Trinnov 3D-Microphone has been designed specifically for Optimizer room correction. It is equipped with measurement transducers and is not designed for any other application (such as sound recording).

The design has been conceived alongside the Optimizer algorithms to sample the characteristics of the monitoring loudspeakers and their layout in the control room.

For each loudspeaker, the Optimizer gathers the following information:

On/Off LED

• Full 3D position

• Amplitude response

(printed beside logo)

• Phase response

Checking the Power Supply

The Trinnov 3D-Microphone is equipped with an internal battery that any user can change. The 9V PP3 LR61 battery is located within the body of the microphone and is accessible from the bottom of the unit.

To check and replace the battery:

 Power on the microphone, using the button on the bottom of the unit, and check the status of the On/Off LED. If the LED

does not illuminate, then you will need to change the battery.

 Using an appropriate driver, remove the screw on the bottom of the unit, and slowly pull down the lower section of the

housing to reveal the battery block.

 Unplug the battery from its connector and replace with a brand new 9V PP3 LR61.  Power on and check the status of the On/Off LED.  Carefully replace the housing by sliding it back onto the battery block, and tighten the screw to fix in place.

Checking the 3D-Microphone Compensation File

All Trinnov 3D-Microphones are verified and calibrated before leaving the factory. At this stage, a specific compensation file (for the microphone) is created. This allows any 3D-Microphone to be used with any Trinnov processor which supports the Optimizer as, by installing the correct compensation file, the overall measurement path can be flattened.

To check that your processor is using the correct microphone compensation file:

 Take note of the serial number of the 3D-Microphone (printed along the bottom of the microphone body). The serial

number is usually written as “V9 N 268”, where 9 is the lot number and 268 is the serial number.

 From the OPCP GUI, select “Optimizer Settings -> Calibration”, and click on the Configure button beside the

measurement name – from here you can select any pre-installed microphone compensation file (see below).

 Then select Default Microphone to select the file applied to every new preset created from the “built-in” preset.

In both cases, the compensation filename must match the 3D-Microphone serial number you are using. If not, then any Calibration made will provide absolutely the wrong room correction!

If the file for your 3D-Microphone is not available, then you must either upload or install a new file (as described below). Alternatively, you can select the filename “Vx-mean” where x = the lot number.

Only an appointed Trinnov reseller or the Trinnov Support Department can upload or provide a new compensation file:

 If possible, connect your processor to the internet and contact the Trinnov Support Department with the serial number

of both the 3D-Microphone (printed on the microphone body) and D-Mon processor (displayed in the OPCP GUI “About” page). The support team will then upload the required file at the earliest opportunity.

 If an internet connection to the processor is not possible, then a USB Key can be provided. Plug the Key into one of the

processor’s USB ports – the Key File Manager automatically opens. Select the Load microphone files from USB Key option and follow the on-screen instructions.

 The refresh the microphone compensation file list, the unit needs to be rebooted.  Once the upload/install is complete, the compensation file can be selected as described above.

(on underside)

6.4.3 PREPARING FOR CALIBRATION

6.4.3.1 DEFINING THE SPEAKER SETS

Before running the first calibration, you will need to define the speaker sets. This is handled from the D-Mon Control Panel GUI, as described later in 7.5.2: STUDIO SETUP -> Speaker Sets. Note that:

• Speaker sets are divided into two categories, optimized and non-optimized. Both categories require calibration and,

therefore, should be treated similarly during the calibration process.

• To create multiple arrangements using the same loudspeakers, you should add a separate Speaker Set for each

arrangement and then assign the same physical outputs to the shared speakers. For example, to create a stereo pair from the LR of a 5.1 setup, define two Speaker Sets: Stereo and 5.1; then assign the same physical output to the Stereo front Left and 5.1 front Left, and repeat for the Right front speaker.

• You can create multiple presets for the same Speaker Sets (e.g. to deal with different acoustic arrangements). In this case,

each preset will require its own calibration process.

• You cannot perform a calibration without first defining a Speaker Set.

6.4.3.2 RECOMMENDATIONS FOR SPEAKER PLACEMENT

To get the best out of your control room when it comes to acoustics, you should consider the following advice and, if necessary, apply the changes before continuing:

• Be sure to follow the professional recommendations for stereo and surround loudspeaker installation. Standards such as

the ITU-R-775-1, SMPTE 202M and so on, are what the Optimizer algorithms refer to in terms of spatial positioning.

• The better the acoustic environment, the finer and more effective the Optimizer tuning. As a minimum, you should consider

the room’s form factor, its construction and materials, adding acoustic panels or modular elements, and the placement of furniture and equipment. The help of a knowledgeable and experienced acoustician is highly recommended.

• You should avoid placing obstacles, such as computer screens, glass surfaces, large empty desks, etc. between the

loudspeakers and the listening position.

• However, the listening position should be arranged according to the actual mixing conditions you will be working in. So, if

DAW screens and other devices are required around you, they should be positioned before calibration.

The purpose of the Optimizer is to achieve the best response from your loudspeakers whatever the listening conditions are. Therefore, the more acceptable they are before calibration, the better the “post calibration” result.

The diagram on the next page shows the recommended positions and angles to apply in a professional recording/mixing room, according to the various standards used in the Optimizer.

Extract from the Recording Academy Recommendations

6.4.3.3 RECOMMENDATIONS FOR 3D-MICROPHONE PLACEMENT

The Optimizer algorithms support both single-point and multi-point calibrations.

In most cases, a single-point calibration will achieve the best possible result from the loudspeakers.

Multi-point calibration should be used if a larger sweet-spot is required (e.g. in front of a large-scale mixing desk); if there are simultaneous mixing positions; or when a room presents particularly complex acoustic issues. In this case, the help of a Trinnov-certified technician and/or an experienced acoustician can dramatically improve the methodology and end result.

Each microphone output (1-4) MUST connect to the same processor INPUT (1-4), since the Optimizer relies on the

In both scenarios, a reference measurement position should be chosen carefully, since it will be used by the Optimizer to calculate the loudspeakers’ relative delay and level alignment as well as the Master delay and level. The “M” position is the best choice for presets to be used for mixing.

The calibration microphone should be placed at the listening position, using the listener’s ears and capsule #4 as a reference for height. The red LED indicates the front of the 3D-Microphone which must be pointed to the front and towards the center of the sound stage. You may use the virtual line passing over capsules #1 and #4 to align it with the axis symmetry.

The 3D-Microphone must be perfectly stable and well settled, horizontally, on its mic stand.

Side View

6.4.3.4 CONNECTING THE 3D-MICROPHONE

Once positioned, the 3D-Microphone must be connected to the D-Mon processor.

Note that the connection is required during calibration only.

It is NOT necessary to keep the 3D-Microphone connected to the processor after calibration.

View from Above

The 3D-Microphone comes with a 4 x male XLR multi-cable (below left). This must connect to Analog Inputs 1-4, available via SubD-25 on the rear of the D-Mon processor. You can use the optional 4 x female XLR to SubD-25 breakout cable (below right) to access the inputs or refer to the SubD-25 wiring diagram in Appendix 9.1.1.

3D-Microphone with XLR multi-cable

Optional 3D-Mic Breakout Cable (XLR to SubD-25)

expected capsule positions to perform the 3D measurement. Therefore, using the optional 3D-Mic Breakout cable is recommended.

6.4.4 RUNNING THE FIRST CALIBRATION (STEP-BY-STEP)

SEVERE NOISE INJURY MAY OCCUR DURING THE CALIBRATION PROCESS IF THE FOLLOWING INSTRUCTIONS ARE NOT STRICTLY APPLIED.

ANY PERSON PRESENT IN THE ROOM DURING CALIBRATION SHOULD BE WARNED ABOUT THE RISK OF NOISE OVERLOAD AND THE LARSEN EFFECT.

The Optimizer requires a minimum Sound Pressure Level for proper calibration. Until the minimum SPL is reached, the test signal will play through the same speaker. For safety reasons, we recommend running the first calibration as if it were a test. Start with a Master Level of -40 dB and increase the level until the test signal passes on to the second speaker. This confirms that the minimum SPL has been reached.

Step Instructions Comments

1 Open the OPCP GUI by clicking on the D-Mon

processor model number from the DMCP.

See 6.4.1: Working with the DMCP & OPCP.

Select the “Setup” page followed by the “Clock”

sidebar tab:

 Set the sample rate to 48kHz, whether as

the Master or Slave to an external clock.

 In the case of an external clock, select a

valid Clock Source and make sure that a 48kHz sample rate is displayed on-screen to show that it has been accepted.

3 Select the “Processor” page:

 In the “Meters,” “Master” and “Outputs”

sidebar tabs, set the output parameters to convenient values.

 Any parameter can be changed later and

saved in a different preset.

 The default values ensure an overall gain

of 0dB. Therefore, you should only change parameter values if necessary.

if you

to check and, if

to start the calibration

system to avoid any

its LED

l calibration, the

4 Select the “Optimizer Settings” page followed

by the “Calibration” sidebar tab. From here:

 Change the Measurement name

wish (e.g. Measurement 1).

 Click on Configure

necessary, change the 3D-Microphone compensation file. See

6.4.2.2: The

Trinnov 3D-Microphone.

 Adjust the calibration parameters.

Click on Calibrate procedure, and follow the on-screen instructions:

 First, Mute the

trouble. It does not affect the calibration procedure.

 Power on the 3D-Microphone (

should be on) and press OK.

 The generator immediately sends out MLS

noise bursts (three shots) to each of the loudspeakers.

 Following a successfu

“Calibrated” field updates to “Yes”, and you can proceed to step 7.

 If the calibration is unsuccessful, then a

warning message will appear (an example is shown opposite). Click on Cancel to stop the calibration, and see Warning Messages & Troubleshooting for more details.

Use the value to the right of the

ATTENTION!

the correction

bar to

for the

, etc.) to view the

6 To add more measurement points, for a multi-

point calibration, click on the Add button and repeat steps 5 and 6:



“Calibrated” field to set the importance factor. A value of 0 means ignores the point. (Default value is 1)

 Check the Ref field to set the reference.

(The default reference measurement point is the #1)

 Click on Delete to delete a measurement

point.

Switch off the 3D-Microphone after every calibration attempt!

7 Once all measurement points have been

successfully calibrated, click on Compute. The Optimizer now calculates filtering required.

Various icons appear in the top info show the progress:

= calculating filters.

= calculating graphs.

= calculations complete.

Note that it may take some time processor to reach the final step.

Optimization is now complete and you are ready to enjoy your new listening conditions!

Calibration level may be loud. Do not forget to reduce the volume before using the unit. The processor is always muted after a

We strongly recommend using the Bypass button (top right) to listen with and without the Optimizer. When making an A/B

comparison, we recommend using professional sound checking material, if possible, rather than a normal mix.

The “Optimizer Graphs” page can be used to view the graphs while listening to the result at the same time.

 Use the tabs (Amplitude, Phase

different responses.

 Click on Settings to re-arrange how the graphs are

displayed.

The “Optimizer Settings” page provides various options for fine-tuning the Optimizer parameters. See 6.4.5: Optimizer Settings for details.

––––––––––

calibration, so remember to unmute first!

to the loudspeaker audio

6.4.4.1 WARNING MESSAGES & TROUBLESHOOTING

During calibration, you may see a warning message indicating that there is a problem. The list below describes the most likely causes of each message and the steps which should be taken to provide a solution.

IMPORTANT: if several digital “acoustic tuning” processors (external or integrated) are added chain, then it is highly likely you will achieve a bad overall result and see some warning messages from the D-Mon processor. Therefore, it is strongly recommended that only one processor be active at any one time, and that you compare the results.

a) “Crest factor too low…”

This message appears if the processor cannot distinguish between the level of the background noise and the MLS noise coming from the loudspeakers.

Possible Causes Solutions

The main level is too low.

The direct sound is too weak, compared to the reverberation.

There is too much background noise.

There is an obstacle between the speaker and the microphone. Remove the obstacle or reposition the speaker.

The system includes dipole and/or bipole speakers.

The speaker, or something in the audio chain before the speaker,

has some processing which is creating pre-ringing effects.

Turn up the volume, and avoid as much background noise as

possible.

Use the “Processor -> Meters” in the OPCP GUI to check the noise

levels arriving at each microphone capsule (1-4).

Reposition the 3D-Microphone so that it is closer to a single

emitting axis.

Select the “Optimizer Settings -> Settings -> Advanced Settings” in

the OPCP GUI, and under Calibration Settings, raise the “Threshold

for response begin detect” value.

b) “Unstable Position for Speaker…”/“Unable to Localize Speaker…”

This message appears when the sound around the 3D-Microphone is too diffuse, and the system cannot find the emitting source.

Possible Causes Solutions

Someone or something has moved during the calibration.

Too many strong reflections around the 3D-Microphone are

disturbing the impulse response measurement.

Remove the 3D-Microphone from these disturbances or attenuate

Do not move while performing a calibration.

Do not let anything else move (e.g. doors, curtains, etc).

the reflections.

There is an obstacle between the speaker and the microphone

which is disturbing the measurement.

The bandwidth of one of the speakers is too narrow.

Remove the obstacle or reposition the speaker.

Make sure that any built-in filters (e.g. a subwoofer filter) are

disabled.

c) “NOT READY.”

This message can appear in the top info bar if a problem has occurred during computation, or if the calibration has been corrupted for some reason.

In this instance, you should try running another calibration from scratch.

“Not ready” also means that the calibration has not been computed. In this case, please make sure you clicked on “Compute” after having calibrated the system.

6.4.5 OPTIMIZER SETTINGS

Having completed the first calibration, the “Optimizer Settings” page can be used for fine-tuning. The page has four sidebar tabs:

• “Runtime” – allows you to manage the overall Optimizer process.

• “Settings” – provides access to all normal and advanced parameters.

• “Positions” - displays how the speakers have been measured.

• “Calibration” – provides access to the calibration procedure (described earlier).

Optimizer Settings -> Runtime

From here you can enable or disable the complete Optimizer program or any of its parts:

• Optimization ON/OFF - allows the user to run or bypass

all of the processing related to the “Optimizer Settings” page. This includes the acoustic correction, the automatic delay, and level alignment, as well as remapping options.

Note that when Optimization is OFF, only processing defined in other pages is applied:

o Routing – as defined in the DMCP. o Levels – as defined in the “Processor” page. o Graphic EQs – as defined in the “Processor” page. o Bass Management.

• Acoustic Correction ON/OFF: when turned OFF, both the

automatic equalization (defined by the target curve) and the FIR EQ are bypassed.

• Level Alignment ON/OFF: the automatic alignment of speaker levels can be disabled, meaning that no automatic gain

changes will be applied to the outputs.

• Delay Alignment ON/OFF: the automatic alignment of speaker distances can be disabled, meaning that no automatic delays

will be applied to the outputs.

At the bottom, you will see the following information (for display purposes only):

• In-out delay: the latency applied by the algorithms. This varies according to the preset currently in use and how complex

and effective the algorithms are.

• Clock: displays the current clock setting. (To adjust the clock setting, use the “Setup” page or DMCP).

Optimizer Settings -> Settings

This tab provides access to all Optimizer parameters. It is divided as follows:

• Main Settings: includes all the usual parameters you may

wish to adjust (see next page).

• Advanced Settings includes more advanced parameters.

• Target Curve: allows the definition of target curves that

the algorithms will respect.

• Excursion Curve: allows the definition of boost and cut

values based upon frequency bandwidth.

The Main Settings are being described on the next page.

Advanced Settings are usually adjusted by a Trinnov-certified technician. Therefore, these are not described in this User Guide.

Optimizer Settings -> Settings (Continued)

The Main Settings are:

• Optimize:

o Amplitude + Phase (default): with this setting, the Optimizer will improve both the amplitude and phase response of

the loudspeaker. This greatly reduces the group delay of the speakers (starting from about 150Hz).

o Amplitude only: in this mode, the Optimizer will work only on the amplitude response; the phase behavior is not

modified.

o Low range only: with this setting, the automatic equalization only uses IIR filters up to the frequency defined in the

Advanced Settings (Default: 150Hz). The automatic FIR filter is disabled, but the FIR EQ can still be applied.

o According to L&R speakers: this is a special mode that will optimize the center and surround speakers to achieve the

same response as the Left and Right speakers. It is most useful in home cinema installations.

• Maximum Boost/Attenuation defines, in dB, the maximum amount of boost or attenuation applied by the algorithms. These

parameters are used to protect against overloads. The default values are 6dB/10dB respectively. These parameters will dramatically impact upon the behavior of the automatic equalization, as they are applied to both the time-based and the energy processing. Accurate values can be defined by using the “Exclusion Curve” across the full frequency bandwidth.

Optimizer Settings -> Positions

This tab displays how the speakers have been measured. Click on Summary to view a comprehensive measurement table.

either an AES input or

Alternatively, you can use the processor’s

if you wish the

Use the “Audio Buffer Size” options to

result in

6.4.6 DEFINING THE AUDIO CLOCK

The audio clock source must be defined in the OPCP GUI using the “Setup” page and “Clock” tab.

Note that the clock settings and status can also be checked (but not adjusted) from the D-Mon Control Panel GUI, see 7.5.4 STUDIO SETUP -> Audio Clock.

To change the audio clock source:

Step Instructions Comments

1 Open the OPCP GUI by clicking on the D-Mon

processor model number from the DMCP.

Select the “Setup” page followed by the “Clock”

sidebar tab.

3 To define an external clock source:

 Select Slave as the “Clock mode”.

 Then choose one of the “Clock Source”

options – Wordclock.

The “Status information” updates and should show that a valid clock source is being received. If not, check both the clock source and its connections.

internal clock by selecting one of the master “Clock Mode” options (e.g. Master 48kHz).

4  Select Store in Preset

“Clock mode” and/or “Clock source” to be saved and recalled by presets.



adjust the latency of the processor. Note that too small a latency can syncing issues.

See 6.4.1: Working with the DMCP & OPCP.

sets or snapshots. These settings are always

6.4.7 OTHER STUDIO-RELATED PARAMETERS

At this stage it is a good idea to check the rest of the STUDIO SETUP parameters in the D-Mon Control Panel GUI, so that when you save a preset, it will include all the settings required to reset the D-Mon processor for the studio. In particular, check the following tabs:

• Inputs & Outputs – defines the talkback and listen-back inputs, plus the AES insert.

• Options/Levels – sets automatic dimming on talkback, plus the dim and reference levels for the speaker volume.

• Remotes – GPIO mappings for external controllers and the optional USB Volume controller.

See 7.5: STUDIO SETUP for details.

6.4.8 SAVING A PRESET (OR PRESETS)

To complete the installation, you will need to save a preset so that all settings can be recalled later.

Note that a preset store's everything required to reset the D-Mon processor – i.e. all D-Mon Control Panel pages (including the STUDIO SETUP), plus the Optimizer & Processor Control Panel settings (including the calibration and clock parameters).

For full details on how to store and recall presets, see 7.6: CONFIGURATION PRESETS.

Note that if you wish to perform several calibrations, to re-configure the Optimizer for different monitoring arrangements, then you will need to save a preset for each different setup.

It is also strongly recommended that you create and update a preset throughout the configuration process. This will ensure

that you do not lose any settings should the processor reboot.

Note that there are a few parameters which are NOT saved in either pre absolute and remain at their last values. They are the:

• Speaker listening level, MUTE, and DIM set in The CONTROLLER page of the DMCP GUI.

• Network parameters defined in the OPCP GUI, see 6.2.2: Setting up the CPU.

• Audio clock parameters (if “Store in preset” is set to off in the OPCP GUI, see 6.4.6: Defining the Audio Clock).

4 3 1

7 THE D-MON CONTROL PANEL (GUI)

This chapter covers all the functions available from the D-Mon Control Panel.

Please read Chapter 5: Quick Start for a short introduction to the GUI and its operating principles.

7.1 THE CONTROLLER PAGE

The CONTROLLER page is the main operational page for everyday tasks. It is divided into five main areas:

Area Function

#1 SOURCES Manages all incoming sources defined in the SESSION SETTINGS.

#2 Speaker Level Adjusts the listening level for the speakers (applies to all speakers within all speaker sets).

#3 SPEAKERS

#4 OUTPUTS & TALKS Manages all mix buses and outputs defined in the SESSION SETTINGS.

#5 HEADPHONES Controls the stereo headphone output.

Our example above shows a D-Mon|12 processor configured for an orchestral recording session. On the left, the sources (#1) have been given session-specific names and on the right there are two optimized speaker sets (#3) defined for the installation:

7.1.4 and Stereo. In the middle, two mix outputs (#4) are also defined, for the Conductor and Musicians; the Conductor’s mix has talkback available, and both listen-back inputs are also enabled. The operator is currently listening to the Musician Mix on the

7.1.4 speaker set and the incoming DAW mix on the Headphones. Both the speaker and headphone levels (#2, #5) are open.

If you have recalled a different preset, or are using a different D-Mon processor, then you will see different options within the SOURCES (#1), SPEAKERS (#3) and OUTPUTS & TALKS (#4) areas.

Manages all speaker sets defined in the STUDIO SETUP -> Speaker Sets.

7.1.1 PREPARING THE CONTROLLER PAGE

The diagram below shows how the CONTROLLER page is affected by the SESSION SETTINGS and STUDIO SETUP parameters:

The available SOURCES and OUTPUTS & TALKS are determined by the SESSION SETTINGS, and the available SPEAKERS by the STUDIO SETUP -> Speaker Sets. Therefore, you will need to configure both of these pages before operating the system.

Note that:

• The MAIN “eye” icon (in the STUDIO SETUP -> Speaker Sets) must be enabled to view a speaker set in the SPEAKERS list.

• The MAIN “eye” icon (in the SESSION SETTINGS) must be enabled to view a source in the SOURCES list or mix bus or output

in the OUTPUTS & TALKS area.

Once both the studio and session parameters have been defined, the system is ready for operation from the CONTROLLER page.

7.1.2 SAVING SETTINGS (IN SNAPSHOTS & PRESETS)

Nearly all selections made within the CONTROLLER page are saved in both snapshots and presets - for example, the current monitor source, selected speaker set, and headphone on/off, source and level.

Exceptions are the speaker listening level, MUTE, and DIM which are absolute and remain at their last value.

Click and drag to adjust Speaker Level

Click to Dim Speaker Level (by 20dB1)

Click to Mute all Speakers

7.1.3 MONITORING AUDIO (ON THE SPEAKERS)

Click to select speaker set

(always exclusive)

Click to select monitor source: TOGGLE = exclusive; SUM = additive

 From either the SOURCES or OUTPUTS & TALKS areas, click to choose a monitor source - the selected source or output

(e.g. DAW) feeds the selected speaker set (e.g. 7.1.4).

The available sources and outputs are defined in the SESSION SETTINGS page and are stored and recalled by snapshots. You can listen to any combination of SOURCES and OUTPUTS – use the TOGGLE and SUM modes to choose whether selections are exclusive or additive. When selecting an output, take care to click on the button name and NOT the talkback symbol!

Note that the LISTEN buttons (see later) and SPEAKERS buttons in the MONITORING MIXER also change the monitor source.  From the SPEAKERS area, click to change the speaker set.

The available speaker sets are defined under STUDIO SETUP -> Speaker Sets, and are stored and recalled by presets. If more than one speaker set is defined, then the switching is exclusive. A green “V” (from the Trinnov logo) appears beside each optimized speaker set; if there is no green “V,” then the speaker set is non-optimized. As you switch between speaker sets, the individual loudspeaker buttons (HL, HR, L, C, R, etc.) update to reflect the current format.

Note that a monitor source and speaker set are always selected. Therefore, if you wish to stop audio feeding the speakers, use the MUTE button (described below).

7.1.4 ADJUSTING THE LISTENING LEVEL (SPEAKER VOLUME)

 Click and drag on either the dB value or slider handle to increase or decrease the listening level.

If using a mouse, it is easier to drag left/right or up/down (rather than in a circular motion). If a maximum speaker level defined, then you cannot exceed this level. The speaker level can be displayed as an unreferenced dB value (as shown above) or using one of the referenced level options defined under STUDIO SETUP -> Options/Levels.

 Click on DIM to reduce the listening level

– the button lights in orange when enabled. Click again to cancel.

 Click on MUTE to cut all speakers within the speaker set – the button lights in red when enabled. Click again to cancel.  Click on Ref to reset the listening level to the reference value

The amount of dim, plus the reference and maximum speaker levels are defined under STUDIO SETUP -> Options/Levels.

– this is a one-shot operation.

Note that different level trims can be applied to individual speaker sets under STUDIO SETUP -> Speaker Sets.

has been

7.1.5 CHECKING INDIVIDUAL LOUDSPEAKERS

Speakers Muted

Using the buttons at the bottom of the SPEAKERS area, you can solo, deliver pink noise to, or mute an individual speaker:

 First, choose the function – e.g. MUTE.  Then, select a speaker or speakers (e.g. Ls, Rs, Lrs, Rrs).

Each of the functions is color-coded to clearly indicate when a speaker is muted (red), in solo (yellow) or sending out pink noise (turquoise).

 Cancel the operation either by de-selecting the speaker(s) or switching to a different mode – e.g. from MUTE to SOLO.

It is possible to setup if the solo/mute / noise functions are applied at the input stage or the output stage of the optimizer

process. This parameter is defined in the SESSION SETTINGS page. See 7.4.3 SESSION SETTINGS -> Options

Centre Speaker in Solo

Pink Noise to Right Surround

7.1.6 LISTENING TO A DOWNMIX

Click to select format

You can use the DownMix button in the SPEAKERS area to check the listening compatibility for different speaker arrangements. For example, to check how a 7.1 mix will sound in 5.1, Stereo or Mono.

 First, select the source you wish to check from the SOURCES or OUTPUTS areas; and select the right speaker set (a 7.1 in

our case)

 Then, choose a downmix format from the drop-down menu (e.g., Stereo).  Enable the DownMix button – the active speakers are highlighted while the downmix is enabled (e.g. L and R).  Click again on the DownMix button to cancel the function and return to “normal” monitoring (e.g., 7.1).

Note that the available downmixes are factory-configured and determined by the selected speaker set. So, for example, if you working with a stereo speaker set, there will be only one downmix available: Mono on L/R. If a surround speaker set is selected, there will be multiple downmix options.

When choosing to listen to a mono downmix on a surround speaker set, you can choose either:

Click to enable DownMix

DownMix Off (normal monitoring)

• Mono = downmix is routed to only the Centre speaker (discrete Centre).

• Mono on L/R = downmix is routed to both Left and Right speakers at equal power (“phantom” Centre).

While listening to a Downmix, you can use the SOLO or MUTE functions to interrogate individual speakers.

Note that downmixing occurs automatically whenever there is a mismatch between a source and a destination – for example, if you listen to a 5.1 source on a stereo speaker set. Also, you can force a downmix to occur by changing the routing assignments in the SESSION ROUTING page, see 7.2.5: Downmixing.

In all cases, the downmix rules (coefficients) and the list of the available targets to be presented to the user in the DMCP are defined in the OPCP GUI, see 6.4.1: Working with the DMCP & OPCP.

7.1.7 DYNAMIC RANGE COMPRESSION (DRC)

Click to enable Dynamic Range Compression

The DRC button in the SPEAKERS area can be used to simulate how your mix will sound when played through a consumer system (where dialogue normalization is applied).

The simulation complies with the SMPTE 85 standard used in Dolby encoding, and its parameters are defined in the SESSION SETTINGS page. See 7.4.4 SESSION SETTINGS -> Dynamic Range Simulation.

 Click on the DRC button to enable or disable the simulation.

7.1.8 TALKING TO AN OUTPUT

If talkback to a mix bus is enabled in the SESSION SETTINGS page then, in the OUTPUTS & TALKS area you will see the relevant master SLATE button(s) plus a talkback symbol (on the right of the button name):

 Click on the talkback symbol to open a communication line between the talkback input and the selected destination.

Take care to click on the talkback symbol and not the button name; selecting the button name will change the monitor source!

 Click again to close the talkback line. Note that several talkback lines can be open at the same time.  Click on the SLATE 1 or SLATE 2 buttons to talk to multiple destinations.

SLATE 1 talks to ALL destinations assigned to talkback input 1, and SLATE 2 to ALL destinations assigned to talkback input 2. The SLATE buttons override any individual talkback selections. Note that individual talkback is available for talkback input 1 only.

If the Auto-Dim on Talkback option is enabled in the SESSION SETTINGS -> Options, then the speaker level is dimmed whenever talkback is active.

Talk to Conductor

Talk to ALL

and are stored and

, and are stored and

Click to monitor a listen-back input

About the Talkback Inputs

The system supports two talkback inputs which can be used to talk to an individual mix bus or all buses (via the SLATE button). For each mix, you can determine whether talkback is enabled and which input will be used (TB1 or TB2), see 5.9 Editing the Session Settings. These assignments are stored and recalled by snapshots, allowing you to store and recall different talkback configurations for each session.

The physical inputs and their level trims are specified under STUDIO SETUP -> Inputs & Outputs recalled by presets. They can use any analog or AES input, connected via the MPIO or SubD-25 connector. Analog input 1 is reserved for talkback and is named accordingly within the software. If TB2 is assigned to a different physical input, then you will be able to talk from different positions (e.g. from a sound engineer or producer).

7.1.9 LISTENING “IN” TO THE STUDIO

Listen-back can be used to return talkback from a particular studio location – for example, to “listen back” to the conductor’s microphone during a recording session. If the listen-back inputs are enabled in STUDIO SETUP -> Inputs & Outputs, then the relevant LISTEN buttons appear in the OUTPUTS & TALKS area:

 Click on LISTEN 1 or LISTEN 2 to monitor the listen-back input on the selected speaker set.  Click again to cancel the listen-back.

About the Listen-back Inputs

The system supports two listen-back inputs which you can listen to on either the selected speaker set (via the LISTEN buttons in the OUTPUTS & TALKS area), or on the Headphones (via the Headphones monitor source selector).

7.1.10 SWITCHING THE AES 1-8 INSERT

If the “AES 1-8 Insert” option is enabled in the STUDIO SETUP -> Inputs & Outputs, then you will see an AES INSERT ON/OFF button and an INS indicator beside some sources – in our example, beside Main and Alternate St.

Click to switch the insert point

for AES IN 1-8

 Click on the AES INSERT ON/OFF button to switch the insert return in and out of circuit. For example, to compare your “dry”

mix (INSERT OFF) with a “wet” mix (INSERT ON) returning from a digital effects processor.

Note that:

• The insert switching affects only digital sources connected from AES In 1-8. In our example, this is why we see the INS

indicator beside the source named Main (connected from AES In 1-6) and the source named Alternate St (connected from AES in 7-8). There is no insert point available for any other sources.

• When the INSERT is switched ON, all eight returns are switched together (i.e. the insert is switched on for both our Main and

Alternate St sources). It is not possible to switch less than eight signals.

For more details on how to connect the AES signals, please see 6.3.1: Audio Connectors.

If you hover over the slider, then a text read-out of the level is displayed.

7.1.11 MONITORING AUDIO (ON THE HEADPHONES)

Click to turn ON the

headphones

Click and drag to adjust the

headphone listening level

Click to select the headphone

monitor source

Analog outputs 9 & 10 are reserved for the stereo headphones (see note below).

 Click on the ON/OFF button to activate or deactivate the headphone output.  Use the drop-down menu to select a monitor source – e.g. Cue #4.

You can choose any of the sources, mixes or outputs defined in the SESSION SETTINGS page, or a listen-back input if listenbacks are enabled.

Note that the PHONES buttons in the MONITORING MIXER also change the headphone monitor source.

If the Phones source follow monitor option is enabled in the SESSION SETTINGS -> Options, then the headphones will automatically follow the speaker monitor source. In this instance, you can still make an independent selection, but as soon as the next speaker source select occurs, the headphone monitor source will reset.

 Click and drag on the horizontal slider to increase or decrease the headphone level. If a maximum headphone level has been

defined (under STUDIO SETUP -> Options/Levels), then you cannot exceed this level.

About the Headphone Output

Analog outputs 9 & 10 are reserved for the stereo headphones and are named accordingly within the software. They are also hard-wired to the MPIO (and ICON console) headphone connector.

Different outputs can be used by changing the “Phones” routing assignments in the SESSION ROUTING matrix. However, if the headphone output is moved away from analog outputs 9 & 10, then an external headphone amplifier will be required, and the headphones will cease to appear on the MPIO (or ICON) connector.

In Full and Chan view, you can drag and drop to make consecutive assignments (see 7.2.4: Making Multiple Connections).

7.2 SESSION ROUTING

This page controls the routing matrix. It can be used to view all sources and destinations to the system; make manual routing assignments for the session – for example, to route a mix bus to its output destination; and change IO assignments.

Click to assign a

different IO

Click to change the

matrix view

Scroll to view

all sources

Click to connect

(or disconnect)

Interrogating the Matrix

All available sources are listed on the left of the matrix and destinations across the top.

In Full view (shown above), you will see an X/Y crosspoint for every source and destination channel. The physical inputs and outputs assigned are also shown. If you click on the arrow beside/above the current assignment, then a drop-down menu appears where you can select a different IO.

Scrollbars will appear at the bottom and on the right of the matrix if needed - scroll left/right or up/down to see all available sources and destinations. Alternatively, you can enlarge the browser window or change the matrix view (see Matrix Views).

The sources and destinations are color-coded to help quickly identify the different types of signal:

• Inputs = light grey (e.g. DAW).

• Mix buses = purple (e.g. Conductor Mix).

• Outputs = blue (e.g. Conductor Cue Output).

• Speaker sets = black (e.g. 7.1.4)

• Headphones = green (e.g. Phones)

Each crosspoint can be:

• Fully lit (GREEN) = crosspoint is active.

• Unlit (GREY) with GREEN OUTLINE = crosspoint is inactive but could be enabled by either the speaker or headphone monitor

source selectors. This indicates that manual patching is not permitted to these destinations.

• Unlit (DARK GREY) with NO OUTLINE = crosspoint is inactive and available for manual patching.

Making Connections

 Click on a crosspoint to connect (or disconnect) the source and destination channel.

Note that, if you attempt to override an automated crosspoint (controlled by the monitor source selectors), then the connection will fail and be instantly reset to its automated status.

7.2.1 PREPARING THE MATRIX

The diagram below shows how the matrix sources and destinations are affected by the SESSION SETTINGS and STUDIO SETUP:

The available sources are determined by the SOURCES in the SESSION SETTINGS page. The available destinations are determined by both the SESSION SETTINGS page (MIX BUSES and OUTPUTS) and STUDIO SETUP -> Speaker Sets (SPEAKERS). Therefore, you will need to configure both of these pages before setting up the matrix.

Note that:

• The headphones (PHONES) always appear as a destination.

• The PATCH “eye” icon (in the STUDIO SETUP -> Speaker Sets) must be enabled to view a speaker set in the matrix.

• The PATCH “eye” icon (in the SESSION SETTINGS) must be enabled to view a source, mix bus or output in the matrix.

• A mix bus will appear as both as a source and a destination. This allows you to assign sources to a mix bus, and the same

mix bus to its physical destination.

• If you assign a source to a mix bus in the SESSION ROUTING matrix, then this is reflected in the MONITORING MIXER page,

and vice versa. See 7.3: MONITORING MIXER.

7.2.2 SAVING SETTINGS (IN SNAPSHOTS & PRESETS)

All assignments made within the SESSION ROUTING matrix are saved in both snapshots and presets.

7.2.3 MATRIX VIEWS

The matrix can be displayed in one of three “views” – use the buttons at the top left to change between Full, Chan (channel) and Min (minimized) view. Once the matrix is configured, you can use the Chan and Min views to simply its operation.

Full View

In Full view, you will see an X/Y crosspoint for every source and destination channel and its assigned input or output.

In addition to making connections, you can click on the arrow beside or above the I/O name to choose a different input or output. Any changes made are reflected in the SESSION SETTINGS page, and vice versa. In our example, we have assigned the left channel of the Conductor’s Cue Output to analog output 3:

The I/O assignments of all sources and destinations can be adjusted except for the speaker sets (as their I/O assignments

are part of the STUDIO SETUP rather than the SESSION SETTINGS). See STUDIO SETUP -> Speaker Sets. Analog outputs 9 & 10 are being reserved for the stereo headphones (PHONES). Different outputs can be used, but you will

need an external headphone amplifier, and the headphones will cease to appear on the MPIO connector (as they are hardwired to analog out 9 & 10).

You can disable the PHONES output by selecting the first (blank) entry in the drop-down IO selector.

Channel View

In Channel view, the physical I/O assignments are hidden so that you see only the source and destination channels, but not their physical connections. This can be used to simplify the matrix:

Minimized View

In Minimized view, two things happen:

• Any destinations controlled by automated switching are hidden – i.e., all speaker sets and the headphones.

• For the remaining sources and destinations, the individual channels (Left, Right, etc.) are consolidated. This means that you

will see a single row and column for each source and destination, regardless of their mono, stereo or surround format.

The result is a very simple view, where it is easy to see exactly which sources and destinations are connected:

 Click on a crosspoint to connect (or disconnect) a source and destination.

If the source or destination is multi-channel, then the system connects the “hidden” channels consecutively, so source channel 1 to destination channel 1, source channel 2 to destination channel 2, and so on. This is ideal if the formats of the source and destination match as Left is assigned to Left, Right to Right, and so on.

However, if you wish to make a non-standard assignment (e.g., Conductor Mix Left to both Conductor Cue Output Left and Right), then this cannot be done in Minimized view. Instead, switch back to either Channel or Full view to assign the individual channels.

Note that if there is a mismatch between the number of sources and destination channels, then the connections wrap around. So, if you assign say a stereo source to a 4-channel destination, then source channel 1 is assigned to destination channels 1 & 3, and source channel 2 to destination channels 2 & 4.

7.2.4 MAKING MULTIPLE CONNECTIONS

In addition to making connections in the usual manner, you can “drag and drop” to make consecutive channel assignments. This method only works in Full or Channel view and is achieved as follows:

 First, switch to either Full or Channel view.  Click at the top left corner of the first crosspoint and, while holding down your mouse button, drag diagonally across the

matrix – as you click and drag, the crosspoints turn dark green to show that they are selected but not yet connected.

 Keep dragging until all the channels you wish to connect are selected – in our example, all six source channels.  Then release your mouse button – the selected connections (or disconnections) are made.

In our example we have used this method to connect all six channels of our 5.1 music stem to the 5.1 studio mixer.

Note that:

Click here and drag

diagonally to make selections

Release to connect

(or disconnect)

• You can use the same method to make multiple connections or disconnections.

• You can only select matching channel crosspoints – i.e. Left to Left, Right to Right, etc. (as shown above). If you wish to

make a mismatched connection (e.g. source channel R to destination channel L), then you will need to click individually on each crosspoint.

7.2.5 DOWNMIXING

Downmixing occurs automatically whenever there is a mismatch between a source and a destination – for example, if you assign a surround source to a stereo destination in Min view, and then switch back to Full view, you will see that an automatic routing has been applied. Wherever there is a summation (e.g. Centre channel to channels Left + Right), downmixing will occur.

12-channel source (DAW) assigned to

stereo destination (Musician Mix)

The downmix coefficients are identical to those used when downmixing from the SPEAKERS area on the CONTROLLER page (see

7.1.6: Listening to a DownMix).

Downmixing will also be applied to summations forced manually in Full view –for example, if you click on individual crosspoints to create a manual fold down.

In all cases, the downmix coefficients are defined in the OPCP GUI, see 6.4.1: Working with the DMCP & OPCP.

Automatic routing & downmix coefficients applied

source to the mix

adjust its send level

output level of the mix

the current speaker set

on the headphones

7.3 MONITORING MIXER

This page controls the summing of the session’s sources onto mix buses. It can be used, for example, to adjust a cue mix.

For each mix, you can set the individual summing points and levels, and the overall mix level. You can also choose to monitor a mix on the speakers or headphones using the buttons below each fader:

Click to assign a

Then click and drag to

Click and drag to set the

Click to monitor the mix on

Click to monitor the mix

Using the Mixer Controls

In our example above, we have two cue mixes (CONDUCTOR MIX and MUSICIAN MIX) and a range of SOURCES. Note that each mix bus is also available as a source to allow mixes to be assigned to other mixes (mixes appear in purple in the SOURCES list).

Scroll bars will appear at the bottom and on the right of the mixer if needed - scroll left/right or up/down to see all available sources and mixes, or enlarge the browser window to fit the resources.

 Click on the square summing points to assign sources to each mix – the summing points light in green when active.

Any number of sources can be assigned. In our example, the CONDUCTOR MIX is receiving Producer Jack + Strings Stem + Rhythm Section + Click, while the MUSICIAN MIX is receiving Rhythm Section + Click.

 Click and drag on a horizontal slider to adjust the send levels to the mix – the sliders light in green once the level is open;

the text readout displays the current level. To set a specific level, double-click on the text field, type in a value and press Enter. Note that you can only adjust a send level once the summing point is active.

You can use the send levels to control how the same source feeds different mixes. For example, the Click is feeding the CONDUCTOR MIX at -10.1 dB, while the MUSICIAN MIX is receiving Click at a much higher level (0.0 dB).

 Click and drag on a fader to adjust the output level of the mix – the large white text readout displays the current level. As

above, you can double-click on the text field to enter a specific value.

In our example, the mixes are being used as cue feeds, and so you would use the faders to adjust the overall listening levels.

Monitoring a Mix

For convenience, the buttons below the faders allow you to quickly monitor any mix:

 Click on a SPEAKERS button to listen to the mix on the current speaker set.  Click on a PHONES button to listen to the mix on the headphones.

If the Phones source follows monitor option is enabled in the SESSION SETTINGS, then the PHONES will automatically follow the SPEAKERS buttons. If this option is disabled, then you can choose to monitor a different mix on the speakers and headphones.

Turn off all the SPEAKERS and PHONES buttons to return to previous monitor source (as selected in The CONTROLLER Page).

7.3.1 PREPARING THE MIXER

The diagram below shows how the available SOURCES and MIXES are determined by the SESSION SETTINGS. Therefore, you will need to configure this page before setting up the mixer.

Note that the LEVEL for MIX BUSES in the SESSION SETTINGS is the same as the fader level in the MONITORING MIXER.

Note also:

• If you assign a source to a mix using the summing points in the MONITORING MIXER, then this is reflected by the

corresponding crosspoints in the SESSION ROUTING matrix. See 7.2: SESSION ROUTING.

• The SPEAKERS and PHONES buttons in the MONITORING MIXER interact with the monitor source selectors in the

CONTROLLER page. See 7.1.3: Monitoring Audio (on the Speakers) and 7.1.10: Monitoring Audio (on the Headphones).

7.3.2 SAVING SETTINGS (IN SNAPSHOTS & PRESETS)

All parameters in the MONITORING MIXER are saved in both snapshots and presets.

7.4 SESSION SETTINGS

This page defines parameters which apply to the session. It is divided into four separate areas which can be accessed by scrolling up and down the page:

• Sources, Mix Buses & Outputs (shown below) – define the resources available for the session.

• Options – for the monitoring such as “phones source follow monitor” and “auto-dim on talkback.”

• Dynamic Range Simulation – defines parameters for the Dynamic Range simulation (DRC button).

• Remote Controllers – defines the mapping functions to an external controller.

Scroll up/down to

view all parameters

7.4.1 SAVING SETTINGS (IN SNAPSHOTS & PRESETS)

All parameters in the SESSION SETTINGS page are saved in both snapshots and presets.

7.4.2 SESSION SETTINGS -> SOURCES, MIX BUSES & OUTPUTS

At the top of the page, you will see all the SOURCES, MIX BUSES and OUTPUTS which are available for the session. These affect the resources on the CONTROLLER page, SESSION ROUTING matrix and MONITORING MIXER.

The operation of this area are covered in the Quick Start chapter, so please see 5.9: Editing the Session Settings for details.

7.4.3 SESSION SETTINGS -> OPTIONS

Scroll down the page to access the following options for the speaker and headphone monitoring:

• Main source selection mode – sets the default mode used at startup of the monitor source selector: either Toggle or Sum.

• Pre-Optimizer speaker functions – Defines if the per speaker SOLO / MUTE / NOISE speaker functions are done before of

after the optimizer processing. This allows to include or not the bass management process: if the option is not checked, the function will be applied on the speaker output signal, else the function will be applied on the input signal.

• Phones source follow monitor – this option affects the headphone monitor source:

o ON (ticked) = the headphones automatically follow the speaker monitor source. o OFF (not ticked) = the headphones monitor source can be selected independently.

See 7.1.10: Monitoring Audio (on the Headphones) for more details.

• Auto-Dim on Talkback – this option affects the speaker listening level:

o ON (ticked) = the speaker level is dimmed whenever talkback is active. o OFF (not ticked) = the speaker level remains unchanged during talkback.

When active, the dimming is triggered by both the individual talkback and SLATE buttons. See 7.1.8: Talking to an Output. The amount of dim is the same as the normal dim level (defined under STUDIO SETUP -> Options/Levels.)

You can use this feature to reduce the “noise” levels in the communication line and avoid feedback, via your talkback mic, in the speakers.

• Mixbus following monitoring – If a mixbus is selected there, its sources will be automatically updated to mirror the currently

selected monitor sources. This can be used to have a mirror of the sources under listening without processing nor latency (i.e. For an external metering device).

• Solo bus, AFL/PFL source – When a source is selected there, it can be activated with a GPI or with the griffin controller. This

is likely to be linked with a GPO from the main DAW triggered upon a SOLO on any track, with a dedicated SOLO output bus.

7.4.4 SESSION SETTINGS -> DYNAMIC RANGE SIMULATION

Scroll down again to set the parameters for the Dynamic Range Simulation:

These parameters are applied whenever the DRC button on the CONTROLLER page is selected, see 7.1.7: Dynamic Range Compression (DRC). The simulation complies with the SMPTE 85 standard used in Dolby encoding:

• Dialnorm ref. Level: sets the “dialnorm” reference level in dB Full Scale.

• Profile: click to select a profile from the drop-down menu (shown above). This defines the compression curve applied

(according to the SMPTE 85 standard).

• RF Mode: when enabled, both gain and the selected “profile” are applied. When disabled, the simulation runs in Line Mode

(no additional gain).

• Unity Gain: tick this option to bypass the output gain applied by RF Mode. (Compression is still applied but without gain

compensation.)

• Delay Compensation: tick this option to have the same latency whether DRC is on or off. (The DRC processing latency =

30ms. Therefore, when this option is enabled, a delay of 30ms is added when DRC is off and removed when DRC is on.)

7.4.5 SESSION SETTINGS -> REMOTE CONTROLLERS

Scroll down to the bottom of the page to define the mapping of functions to an Avid EUCON or ICON controller.

There are four different sets of mappings which are accessed using the tabs at the top of the area: Speaker sets, Monitor Sources, Cue Sources and Cue Outputs:

In each case, click to assign a D-Mon processor resource (e.g. a speaker set) to the controller function (e.g. Main Speaker):

The external controller functions are pre-determined by the connection protocol (either Avid EUCON or ICON). The available resources depend on the D-Mon processor configuration; in our example above, two speaker sets have been defined (in the STUDIO SETUP -> Speaker Sets) and, therefore, either of these can be assigned to the function Main Speaker.

Remember that all the SESSION SETTINGS parameters are stored and recalled in snapshots. This allows you to create different mappings for different users or controllers.

For more details on connecting the external control surface, see Chapter 8: External Control.

7.5 STUDIO SETUP

This page defines parameters which apply to the studio. It is divided into six different sets of parameters:

• Speaker sets – defines the studio’s speaker sets (optimized and non-optimized).

• Inputs & Outputs – defines the talkback and listen-back inputs, plus the AES insert.

• Audio clock – options for the audio clock signal.

• Options/Levels – sets automatic dimming on talkback, plus the dim and reference levels for the speaker volume.

• Remotes – GPIO mappings for external controllers and the optional USB Volume controller.

• Updates/About – check for software updates and information about the product.

Use the tabs at the top of the page to access the parameter sets. In each case, you may need to scroll up and down:

Click to access a different set of STUDIO SETUP parameters

Scroll up/down to

view all parameters

7.5.1 SAVING SETTINGS (IN PRESETS)

All parameters defined in the STUDIO SETUP page are saved in presets, but not snapshots.

Most parameters are usually configured during the installation of the D-Mon processor, and a set of suitable presets for the studio prepared. This will allow you to reset the system for your studio by recalling a preset.

If you need to modify anything in the STUDIO SETUP page, then remember to save the change by overwriting an existing preset or creating a new preset file. See 7.6: CONFIGURATION PRESETS.

7.5.2 STUDIO SETUP -> SPEAKER SETS

This tab defines the name, format and physical connections for each speaker set, plus the bass management options. Once configured, each speaker set appears in the main CONTROLLER page and SESSION ROUTING matrix.

Note that speaker sets are divided into two categories, optimized and non-optimized. Optimized speaker sets appear first in the DMCP interface STUDIO SETUP -> Speaker Sets page. Scroll down to view the non-optimized speaker sets.

Optimized Speaker Sets Non-optimized Speaker Sets

Fully calibrated

(including acoustic correction)

Designed for primary loudspeakers

Each loudspeaker uses an Optimizer® resource.

Therefore, the maximum number is limited by the Optimizer

D-Mon|4 = 4 channels; D-Mon|6 = 6 channels; and so on.

Calibrated for time and level alignment only

Designed for secondary “reference” loudspeakers

Therefore, the maximum number is limited only

(no acoustic correction)

(e.g. Yamaha NS10s, Auratones, etc…)

No Optimizer

by the physical outputs available.

resources are required.

7.5.2.1 INTERROGATING THE OPTIMIZED SPEAKER SETS

Spk A

Spk B

In the example above, two completely independent speaker sets have been defined:

• Spk A – is a 5.1 surround speaker set, connected to AES outputs 1 to 6.

• Spk B – is a stereo speaker set, connected to AES outputs 7 & 8.

In this studio, Spk A will feed the 5.1 main surround monitoring, while Spk B will feed a pair of alternate stereo speakers. By choosing either Spk A or Spk B on the main CONTROLLER page, the user can switch between “Main” and “Alt” speakers.

Since each loudspeaker is fully optimized, it requires a dedicated Optimizer resource. So, in our D-Mon|12 processor, we have used eight resources for our 5.1 + stereo speakers and have four remaining. This is indicated in the text readout at the bottom of the speaker sets: Available speakers: 4/12.

Configuration Example Two

Using Presets

5.1

Stereo

In this example, there are still two speaker sets, but this time the Left and Right channels connect to the same physical outputs and, therefore, can share the same Optimizer channels (1 & 2).

This time when the user chooses a speaker set from the CONTROLLER page, they are listening either in 5.1 or Stereo but using the same Left and Right loudspeakers. Therefore, in this example, the Available speaker's count is 6/12.

Note that if the Available speakers show 0/x, then all of the processor’s Optimizer resources have been used. In this instance, it is still possible to define a non-optimized speaker set if you wish. See Working with Non-Optimized Speaker Sets.

Both the speaker set definitions and Optimizer settings are stored and recalled by presets. This means that you can create a range of presets to support different monitoring arrangements and “sweet spots” within your studio.

See 6.4: Configuring the System for more details.

ATTENTION!

7.5.2.2 EDITING THE OPTIMIZED SPEAKER SETS

If you make changes to any speaker set (optimized or non-optimized), you will need to re-calibrate the speakers. See 6.4: Configuring the System.

Possible Operations

 Click on the ADD + button to create a new speaker set - the entry is given a default name (e.g. Speaker Set #2) and a generic

set of parameters (Format = Stereo, MAIN = on, PATCH = on, Level Trim = 0dB):

Click here to ADD a new speaker set

The number of optimized speaker sets is limited by the number of Optimizer number of channels remaining is indicated below the ADD + button. In our example, Available speakers: 4/12 means that there are 4 mono Optimizer channels remaining from the 12 available in our D-Mon|12.

 For all speaker sets, you can define the following:

channels supported by your D-Mon processor. The

• Name – click to edit the name of the speaker set. You can click once to position the cursor, or double-click to select text you

wish to overwrite. Type in a name; the usual copy, cut and paste functions are available. Each name can be up 16 characters, and all alphabetical and numerical signs are accepted.

• FORMAT– click to choose a format from the drop-down menu. The options will vary depending on your D-Mon model. If you

choose a surround format, then the component channels are always allocated in the same order, up to the relevant number of channels: L, R, C, Sub, Ls, Rs, Lrs, Rrs, HL, HR, HLs, HRs.

• MAIN & PATCH – the “eye” icons determine whether a speaker set is visible in the MAIN (CONTROLLER) and PATCH

(SESSION ROUTING) pages. When enabled, the icon lights in green.

• Level Trim – click and drag on the slider to adjust the output level for all channels of the speaker set. Alternatively, double-

click on the white text field, type in a value (e.g. 0dB) and press Enter. This level is done on top of the Optimizer calibration, which normalize the levels across all speakers. Note that it is also

possible to set a per speaker level trim in the OPCP interface Processor -> Outputs, which is therefore combined with this speaker set level at processing.

• Output connector – click to assign a physical output to each channel of the speaker set – you can choose any AES or

analog output. Once assigned, the Optimizer channel column updates.

Re-using some speakers in different speakers sets

 For speaker sets with surround channels, you can enable or disable the Surround theatrical level alignment option. When

enabled, all surround speakers are level aligned to conform to the Dolby standard for cinema listening environments.

Is it possible to re-use an optimizer channel in another speaker set by selecting the same physical output for the same channel label (ie. In the previous screen capture, re-use the AES output 1 for the left channel of the Speaker set #2).

This tips allows the re-use of a subwoofer across several speaker sets, or to mix different speakers models for the same speaker base.

It also makes possible a fine usage of the downmixes that are related to the current speaker set format.

ATTENTION!

 For speaker sets with a subwoofer (.1) channel, you will also see a number of bass management options, described below.  Click on the DELETE symbol (in the right-hand column) to remove a speaker set.

There is no undo for the delete operation, so take care when selecting this symbol! Deleting a speaker set will remove it from the CONTROLLER and SESSION ROUTING pages.

7.5.2.3 BASS-MANAGEMENT

 Scroll down the page to access the BASS-MANAGEMENT section:

These options apply to speaker sets with a subwoofer (.1) channel only:

• Apply +10dB on LFE channel – when ticked, 10dB of gain is added to the LFE (Sub) channel.

• Enable Bass-management – tick to enable the Bass Management system.

When enabled, the D-Mon processor will sum the low-frequency end of all signals within the speaker set, and route the summed audio to the Sub speaker channel. This allows you to create a subwoofer channel from a mix without LFE.

When you first enable the option, the Default cut-off frequency and Default cut-off slope (defined in the Bass Management area) are applied to each channel of the speaker set (as shown below). You can then use the BM Slope and BM Low freq fields to edit the individual settings for each speaker channel:

Note that, if the Enable Bass-management option is off, then the subchannel is fed from the .1 (LFE) channel of your monitor source in the usual manner.

The Filters type and LFE input filter fields define the filtering type and frequency cut-off for the LFE (Sub) channel.

ATTENTION!

7.5.2.4 WORKING WITH NON-OPTIMIZED SPEAKER SETS

Non-optimized speaker sets can be edited identically to optimized speaker sets. However, the number which can be defined is not limited by the D-Mon processor’s Optimizer (Spk C) has been added to an existing configuration (with two optimized speaker sets: 1 x 5.1 + 1 x stereo):

channel resource. In our example below, a stereo non-optimized speaker set

Note that:

• Under OPTIMIZED SPEAKER SETS, the number of Available speakers remains unchanged at 4/12.

• Under NON-OPTIMIZED SPEAKER SETS, an Optimizer channel is still assigned (in our example, 8-L, and 9-R). This is

because the channel is still processed (to apply the time and level alignment).

If you make changes to any speaker set (optimized or non-optimized), you will need to re-calibrate the speakers. See 6.4: Configuring the System.

Analog inputs 1 & 2 are the only inputs suitable for direct connection to a microphone (as they provide the necessary

connector by

7.5.3 STUDIO SETUP -> INPUTS & OUTPUTS

This tab defines the talkback and listen-back inputs, plus the AES insert.

Talkback

The system supports two talkback inputs which can be used to talk to the session’s mix buses, see 7.1.8 Talking to an Output. The physical input connectors, level trims and limiter/auto-gain are specified here in the STUDIO SETUP:

• An 1 / Talkback connector – click on this field to choose the connector used for both inputs. You can choose either the

MPIO, SubD connector or Follow Talkback (please read the note below).

• Talkback #1 Input - click on the I/O selector to assign an input. You can choose any analog or AES in (but please read the

note below). Then click and drag on the Trim slider to adjust the input level, followed by the Limiter option and its Target slider to set an automatic target level (e.g., 12dB). Note that, although this option is called “Limiter,” the processor applies either limiting OR automatic gain to reach the desired target level. The limiter/auto-gain occurs after the input Trim level.

• Talkback #2 Input – repeat for talkback input 2 as required.

If the studio has a single talkback microphone, then you should define the same physical input for Talkback input #1 and Talkback input #2 as shown above. Alternatively, you can assign different physical inputs to support two talkback positions (e.g.,

to use Talkback input #1 for a sound engineer and Talkback input #2 for a producer).

Having defined the physical inputs, remember to use the SESSION SETTINGS page to determine how each talkback input feeds the session’s mix buses. See 5.9 Editing the Session Settings.

phantom power). Analog input 1 is reserved for talkback and analog input 2 for listen-back. Both are named accordingly within the I/O selector menus. Note that the SubD analog inputs (1 & 2) are hard-wired to the MPIO connector (TB & LB). This means that if you reassign talkback and listen-back away from analog inputs 1 & 2, you will lose phantom power and also the talkback & listen-back signals from the MPIO connector.

It is possible to save 2 extra inputs by choosing the “Follow talkback” mode, which will select the subD default, and automatically switch to the MPIO connector once a talkback is engaged.

Listen-back

Scroll down the page to access similar options for the listen-back inputs:

The system supports two listen-back inputs which can be used to return talkback from a particular studio location, see 7.1.9: Listening “In” to the Studio.

• An 2 / Listenback connector - click on this field to choose the connector used for both inputs. You can choose either the

MPIO, SubD connector or Follow Talkback (but please read the note above).

• Enable Listenback #1 – tick this checkbox to enable the first listen-back input. You can then define its input, level trim and

limiter/auto-gain (in the same manner as for the talkback inputs). You can choose any analog or AES in (but please read the note above).

• Enable Listenback #2 – repeat for listen-back input 2 as required.

In our example, only Listenback #1 is enabled. Therefore, only LISTEN 1 will appear in the various monitor source selectors (on the CONTROLLER page).

AES Insert

Scroll down to the bottom of the page to enable (or disable) the AES 1-8 Insert, see 7.1.10: Switching the AES 1-8 Insert.

7.5.4 STUDIO SETUP -> AUDIO CLOCK

This tab shows the status of the audio clock source:

In the current release, these parameters are “read-only” and are included for information only. If there is a problem with the clock signal, then you will see a red “invalid clock” warning.

To change the audio clock configuration, you will need to use the Optimizer & Processor Control Panel (OPCP) GUI. See 6.4.6: Defining the Audio Clock for details.

7.5.5 STUDIO SETUP -> OPTIONS/LEVELS/POWER-ON STATE

This tab sets various options for the speaker listening level:

Options

•

Auto-Dim on Talkback – this option is identical to the one defined under SESSION SETTINGS -> Options. It is repeated here so that it can be saved and loaded by Presets.

Levels

These options affect how the speaker level (on the CONTROLLER page) is displayed, and the Reference and DIM functions, see

7.1.4: Adjusting the Listening Level (Speaker Volume).

• Display unit - defines how the speaker level is displayed:

o Unreferenced = the level value is unreferenced and expressed in dB, from -60 to +20 in 1 dB steps. o dB C = the level value is relative to the current calibration level (displayed on-screen once you have calibrated the

speaker set). It is expressed in dB SPL, from 0 to +115 in 1 dB steps.

o Cinema = the level value is relative to the current calibration level and is expressed as a range, from 0 to 10 in 0.1

steps.

• Reference Volume recall level – defines the speaker reference level value (recalled by the Ref button on the CONTROLLER

page).

• Maximum Volume level – defines the maximum speaker level (available on the CONTROLLER page).

• Dim offset level – defines the amount of dim applied to the speaker level (when you press the DIM button or auto-dim on

talkback is active).

• Maximum Headphone level – defines the maximum headphone level (available on the CONTROLLER page).

Power-On State

This option is not related to a preset and saved globally.

• Auto-mute on power-on – automatically engage the mute at machine startup. The user will need to unmute explicitly to

send any signal to a speaker set.

• Recall fixed level on power-on – By default, at machine startup, the volume is set to the last level, at machine shutdown.

This option allows starting the machine with a default level, independently of the last volume set at the previous shutdown.

7.5.6 STUDIO SETUP -> REMOTES

This tab sets the GPIO mappings for external controllers and the optional USB Volume controller.

MPIO General Purpose Inputs & Outputs

These fields will map a D-Mon processor function to a General Purpose Input or Output (GPI or GPO). There are two GPIs and one GPO available. The physical connections are made via the MPIO connector. See 9.1.2: Multi-Purpose In/Out (MPIO) SubD-25 Connector for wiring information.

In each case, click on a field and choose a function from the drop-down menu.

You can choose from:

• Talkback #1 or Talkback #2– the GPI will trigger the TB1 or TB2 button. See 7.1.8 Talking to an Output.

• Mute or Dim – the GPI will mute or dim the speakers. See 7.1.4: Adjusting the Listening Level (Speaker Volume).

• AES Insert – the GPI will switch the AES Insert in and out of the circuit. See 7.1.10: Switching the AES 1-8 Insert.

For the GPO, you have the same options as above, but this time the output will be triggered by the function - for example, to illuminate a talk button when talkback is active.

Griffin Powermate controller

These fields configure the button and wheel on the USB Volume controller.

• Click on the first field to define the button - you can choose either :

o to Mute the speakers o to trigger a talkback button (TB #1 or TB #2), as Toggle or Momentary mode o to cycle thru speaker sets o to toggle the AFL/PFL source o to toggle the AES insert

• Click on the second field to set the sensitivity of the wheel.

This is always mapped to the speaker level (volume).

If more than one USB Volume controller is connected, then all devices are assigned the same functionality.

7.5.7 STUDIO SETUP -> UPDATES/ABOUT

This tab provides information about the product and its software status:

The unit can be updated (via the Trinnov server) once registered. Therefore, for a first-time update, please follow these steps:

Step Instructions Comments

Connect your unit to the internet and go to register.trinnov.com

Follow the on-screen instructions to log in (or create a new user profile), and register your unit. Once registration is complete, you will see a list of your machines including their Online status:

Click on the Search icon to reveal further information about the device.

From here you can load microphone compensation files to the unit, and enable (or disable) software auto-updates:

4 Set the Software Auto-Updates option to Yes to allow updates to be launched directly from the D-Mon Control Panel

interface. (Note that you can set this option to No to prevent updates being launched from the user interface).

5 Open the D-Mon Control Panel GUI and select the STUDIO SETUP -> Updates/About tab.

6 Click on Check for updates. (The software will also be checked automatically at the next reboot).

In the STATUS field, you will see:

• “An update is available” along with the available release number and any release notes = proceed to step 7.

• “Unable to reach update server” = check your internet connection and registration details.

• “Machine is running the latest release” = your unit is up to date, and no further action is required.

7 Follow the on-screen instructions to Switch OFF your amplifiers, and then click on Proceed to install to start the

update. The update server will now run the install. Once complete, the unit will reboot.

––––––––––

The D-Mon processor should now be up and running! You can check the software version from the STUDIO SETUP -> Updates/About tab.

Note that there are a few parameters which are NOT saved in either presets or snapshots. These settings are always

7.6 CONFIGURATION PRESETS

This icon opens a pop-up menu where you can recall either a snapshot (to reset session parameters) or a preset (to reset the complete unit). The MANAGE button opens a full-size page with further file management options: create, lock, export, delete, etc.

7.6.1 ABOUT SNAPSHOTS AND PRESETS

To save and load settings, the system uses two different file types:

• A studio preset stores everything required to reset the D-Mon processor – i.e. all the GUI page parameters (including the

STUDIO SETUP), plus other lower-level settings defined during installation (such as the Optimizer channels).

• A session snapshot stores only session-related parameters – i.e. the current state of the CONTROLLER page, plus the

SESSION SETTINGS, SESSION ROUTING and MONITORING MIXER.

This allows you to reset the unit completely using only a preset. OR, recall a preset followed by a snapshot to apply different session-related parameters to different monitoring arrangements.

absolute and remain at their last values. They are the:

• Speaker listening level, MUTE and DIM set in The CONTROLLER page.

• Network parameters defined in the OPCP GUI during installation, see 6.2.2: Setting up the CPU.

• Audio clock parameters defined under STUDIO SETUP -> Audio Clock (if “Store in preset” is set to off in the OPCP GUI,

see 6.4.6: Defining the Audio Clock). Each unit can store up to 30 presets (29 user presets + the Built-in preset which cannot be deleted). The number of snapshots is unlimited.

7.6.2 FACTORY-CONFIGURED SNAPSHOTS AND PRESETS

All D-Mon processors include some factory-configured snapshots and presets.

These are indicated by the Tr (Trinnov) symbol and cannot be renamed, overwritten or deleted. They will reset the relevant parts of the system to a known set of parameters, and provide a good starting point for defining customer-specific snapshots and presets. Note that the exact contents vary according to the D-Mon processor model.

The Built-in preset and Default snapshot appear on all D-Mon processor models. Note that the Default snapshot is the same as the Built-in state, but recalls only the session settings (rather than studio-specific parameters like the Optimizer channels).

Other factory-configured snapshots can appear depending on the unit’s options. For example, the CB-TMC snapshot is a snapshot that supports the Colin Broad TMC-1 remote controller.

7.6.3 USING THE POP-UP MENU

When you first select CONFIGURATION PRESETS, a pop-up menu appears over the top of the current page. This allows you to quickly access settings without having to change your view:

Possible Operations

 Use the tabs at the top of the menu to view either SESSION SNAPSHOTS or STUDIO PRESETS.  Scroll up and down to view all available files. Before each file name you will see one of the following icons:

• Tr – indicates a Trinnov (factory-configured) snapshot or preset. These files cannot be modified.

• Padlock Open/Closed – appears beside each user-defined snapshot or preset; if the padlock icon is closed, then the file is

locked and cannot be overwritten, renamed or deleted.

The current file is highlighted in green (e.g., Dubbing session); this is the last snapshot or preset to be recalled or overwritten.

 Click on the snapshot/preset name to load its settings; the file name highlights in green once the recall is complete.  Click on the Overwrite icon (to the right of the file name) to store the current settings into a snapshot or preset. A red

OVERWRITE button appears – click on the button to confirm, or click somewhere else to cancel.

Overwrite (step 1)

Overwrite (step 2)

 Click on the MANAGE button to open a full-size page with further file management options.  Click on the X (at the top right of the pop-up menu) to close the CONFIGURATION PRESETS pop-up menu.

7.6.4 USING THE FULL PAGE VIEW

To access other file management options such as Lock, Delete, etc., you will need to open the full page view.  Select CONFIGURATION PRESETS followed by the MANAGE button – the pop-up menu is replaced by the full page view:

Pop-up Menu

Full Page View

Possible Operations

 Use the tabs at the top of the menu to view either SESSION SNAPSHOTS or STUDIO PRESETS.  Scroll up and down to view all available files. The last snapshot/preset to be recalled or overwritten is marked as CURRENT

(e.g. Dialogue Premix).

 Click and type in the Search field to filter the list – as you type, only file names which include the text string are displayed.  Select an option from the Sort menu to sort the list:

• Last modified first = the last file to be overwritten or created is displayed at the top of the list.

• Alphabetical order = files are sorted by name from A to Z.

• Slot order = files appear in the order in which they were created.

 Click on the green RECALL symbol to load a file – the relevant settings are recalled and the CURRENT indicator updates.  Click in the name field to edit the file name. You can click once to position the cursor, or double-click to select text you wish

to overwrite. Type in a name; the usual copy, cut and paste functions are available. Each name can be up 16 characters, and all alphabetical and numerical signs are accepted.

 Click on the LOCK symbol to lock (or unlock) a user-defined file. The LOCK symbol lights in green when active. A locked file

cannot be renamed, overwritten or deleted. Factory-configured files are always locked and are indicated by the Tr icon.

 Click on the green SAVE symbol to overwrite the current settings into an existing file. A red OVERWRITE button appears –

click on the button to confirm, or click somewhere else to cancel. You cannot overwrite a factory-configured or locked file.

 Click on the EXPORT symbol to export the contents of the snapshot or preset. This will allow you to import the file to

another D-Mon processor, as described on the next page. The exported file is automatically named and placed in your browser’s “Downloads” folder. Snapshots have a file suffix of .ogf and preset of .tnz. It is important that you do not change the suffix in Windows, as this is how the system recognizes the file types.

 Click on the DELETE symbol to delete the file. A red DELETE button appears – click on the button to confirm, or click

somewhere else to cancel. You cannot delete a factory-configured or locked file. Deleting a snapshot or preset will remove it completely from the D-Mon processor’s memory.

 Click on EXPORT ALL (at the bottom of the page) to export all user-defined presets in the list. The presets are packaged

together in a single file. This is automatically named and placed in your browser’s “Downloads” folder as before. You can now use the IMPORT function, as described below, to import all presets into the presets list.

 Click on CREATE NEW (at the bottom of the page) to save the current settings into a new snapshot or preset. The file

appears immediately in the list and is named a date and time stamp. You can now edit the name and other parameters as described on the previous page.

 Click on IMPORT (at the bottom of the page) to import a snapshot or preset – a file explorer window appears asking you to

choose a file:

In our example, we have a choice of two snapshots (.ogf) and one single preset (Config_2.tnz). There is also a packaged file (Configs.tnz) created from using the EXPORT ALL button (described on the next page).

Note that you cannot import a snapshot (.ogf) to the presets list OR a preset (.tnz) to the snapshots list, so take care to choose the correct file type.

 Click on Open to complete the operation – after a successful import you will see the file in the presets (or snapshots) list:

If the file uses the same name as an existing preset (or snapshot), as in our example, then it is a good idea to rename it now!

7.6.5 SETTING THE DEFAULT PRESET

There is one extra field in the Studio Presets tab which defines the DEFAULT preset.

This is the preset which is recalled during boot-up, and it should be used to determine how the processor is configured following a reboot or power off/on.

 Select one of the DEFAULT radio buttons to set the default preset – only one preset can be selected at a time.

In our example below, we have chosen the Built-in preset:

8 EXTERNAL CONTROL

This chapter covers the additional steps required to control a D-Mon device using either Avid EUCON or ICON protocols.

Please see 3.4.2: External Controllers for an overview of all remote control options.

8.1 AVID EUCON

To use a control surface based on Internet Protocol (IP) and Ethernet, like the Avid S6, then an additional software application is required – the “DMon” App. The App must be installed on the DAW (Digital Audio Workstation) which is linked to the control surface. It can be downloaded, for free, from the Trinnov website at:

• MacOS:

• Windows: http://updates.trinnov.com/apps/d-mon/windows/current (soon to come)

The App includes a feature which detects which control surface(s) and D-Mon processor(s) are available in the network; which versions of software are in use; and which protocols can be used. It also includes a dedicated internet browser that automatically opens the D-Mon Control Panel (DMCP).

Once you have downloaded the App to your DAW, please refer to the instructions and “Read Me” files included in the package.

EUCON libraries must be installed on the computer running the D-Mon app. Best practice is to have the DAW, EUCON and D-Mon App running on the same computer.

D-Mon processer functions are mapped to the EUCON control surface using the D-Mon Control Panel GUI, see 7.4.5: SESSION SETTINGS -> Remote Controllers.

http://updates.trinnov.com/apps/d-mon/macos/current

ATTENTION!

8.2 AVID ICON SERIES

Alternatively, an Avid ICON Series control surface, such as the D-Command or D-Control, can be connected. In this instance, no additional software is required.

The D-Mon processor supports the monitoring section of the ICON Series control surface. Therefore, it can be considered a digital replacement for the X-Mon, which is usually provided with these consoles.

8.2.1 CONNECTING THE CONTROL SURFACE

The ICON Series control surface sends out all monitoring data through the RS422 protocol which carries the MIDI commands. The SubD-15 cable is, therefore, not directly compatible with a MIDI connector, and requires adaptive circuitry to meet the electronic MIDI standard which is integrated within the D-Mon processor.

Trinnov Audio manufactures a specific MPIO breakout cable which can be used for connection to the Avid ICON Series 15-pin cable. As soon as the two are connected, you will have immediate control of the D-Mon processor from the ICON console. Also, dedicated connectors are provided for the GPIOs, listen-back input, headphones and talkback signals (so that they may be re-routed to the console, just as in the X-Mon).

The ICON Series do not accept remote commands via the 15-pin connector. This means that any actions made from the DMCP GUI are NOT reflected on the control surface.

8.2.2 MAPPING THE FUNCTIONS

The mapping of the console’s buttons and knobs to the D-Mon processor functions is handled using the D-Mon Control Panel (DMCP) GUI.

As soon as the D-Mon processor detects the presence of ICON signals on the MPIO connector, it creates a set of parameters in the SESSION SETTINGS -> Remote Controllers tab. Thus, you can define the functionality according to the session’s needs.

input source select

to any

The ICON functions not directly supported are marked below with red checkboxes. Most are internal to the ICON and cannot be seen by the D-Mon processor. Some can be achieved indirectly using the DMCP GUI: e.g., Sum from the MONITORING MIXER tab; Set Source using the SESSION ROUTING matrix; individual speaker Solo and Mute from The CONTROLLER Page.

The supported functions are as follows:

Icon Control Panel D-Mon Control Panel Comments

The Main, Alt Sur, Stereo 1, Stereo 2 and Stereo 3 switches can be assigned incoming signal from the SESSION SETTINGS -> Remote Controllers.

Output level is automatically assigned.

The Main, Alt and Mini monitor output select switches can be assigned to any Speaker Set from the SESSION SETTINGS -> Remote Controllers.

on/off are automatically

the DIM switch is not

according to the

Icon Control Panel D-Mon Control Panel Comments

The Phones output is automatically assigned to the headphones.

The Studio LS, Cue 1 and Cue 2 outputs can be assigned from any mix bus using the SESSION SETTINGS -> Remote Controllers tab.

Once an output is selected, level and assigned to the Level knob and On switch.

Once an output is selected, the TB switch can talk to the selected output, if TB #1 is enabled for the Mix Bus in the SESSION SETTINGS.

The loudspeaker select switches are mapped automatically according to the format of the selected Speaker Set.

The Mute switch is automatically assigned.

Note that transmitted by the console, but level is adjusted console setup.

switch activates

The Internal/External selection for

Icon Control Panel D-Mon Control Panel Comments

The Mic 1 Listenback #1.

talkback is not supported.

9 APPENDICES

9.1 WIRING DIAGRAMS

9.1.1 AUDIO SUBD-25 CONNECTORS

SubD-25 audio connectors are compliant with the TASCAM standard:

Analog connections AES3 Digital Connections

G = Ground; C = Cold (–); H = Hot (+)

9.1.2 MULTI-PURPOSE IN/OUT (MPIO) SUBD-25 CONNECTOR

This connector is the same for all D-Mon models. It handles the following signals:

2 x GPI (General Purpose Inputs)

Used to trigger events in the D-Mon processor from an external console switch or footswitch. See STUDIO SETUP -> Remotes for functionality.

1 x GPO (General Purpose Output)

Used to trigger an on/off event from the D-Mon processor.

LTC (Linear Time Code)

Compliant with SMPTE standard (balanced).

Talkback & Listen-back Inputs

Balanced inputs with 36V phantom power. These two inputs are wired, via a relay, to the same analog inputs as #1 and #2 on the related SubD-25.

Stereo Headphones

Unbalanced output. This output is wired, via a relay, to the same analog output as #9 and #10 on the related SubD-25.

Midi Input and Output

See the MIDI Implementation for details.

Midi

Channel

Headphones volume

Control Change (0xB1)

Volume (0x07)

requested level

Talkback volume

Control Change (0xB1)

Volume (0x07)

requested level

Listenback volume

Control Change (0xB1)

Volume (0x07)

requested level