CS3000 CS2000 Operation Manual Version 3.
Table of Contents CS3000/2000 Operation Manual Version 3.0 Revision 1 Worldwide Sales, Euphonix Inc. 11112 Ventura Blvd. #301, Studio City, CA 91604 Voice: (818) 766-1666 / Fax: (818) 766-3401 Corporate HQ, Euphonix Inc. 220 Portage Ave, Palo Alto, CA 94306-2242 Voice: (650) 855-0400 / Fax: (650) 855-0410 / Web Page: www.euphonix.
Table of Contents TABLE OF CONTENTS SECTION 1 : INTRODUCTION ................................ 1 - 1 System Component:............................................................................. 1 - 3 The Mix Controller ................................................................................................... 1 - 3 The Audio Tower ...................................................................................................... 1 - 4 The Support Computer .......................................
Table of Contents Projects ................................................................................................. 2 - 9 New Project ............................................................................................................. 2 - 9 Project Comments ................................................................................................... 2 - 9 Rename Project .....................................................................................................
Table of Contents Routing Parameters............................................................................. 4 - 4 Source ...................................................................................................................... 4 - 4 Assign ...................................................................................................................... 4 - 4 Mode .......................................................................................................................
Table of Contents MT Bus to Out3................................................................................... 4 - 26 L4 Bus/Tape Switching ..................................................................... 4 - 27 Querying a Channel’s Bus/Line Routing ........................................ 4 - 27 Adding EQ To M1 ................................................................................................... 4 - 27 Saving to a Snapshot ............................................................
Table of Contents Monitor Dim .......................................................................................................... 4 - 54 Monitor Combinations and Examples ................................................................... 4 - 55 Film Monitor Mode ................................................................................................ 4 - 55 Film 4-Track Dolby Monitoring Diagram ............................................................... 4 - 56 Film 5.
Table of Contents Master Inputs and Outputs .............................................................. 5 - 12 External Inputs Ext 1 In (A, B & C), Ext 2 In (A, B & C) .......................................... 5 - 12 Auxiliary Bus Outputs (A1-A8) ............................................................................... 5 - 12 Stereo Bus Outputs ST1 Out (A, B & C), ST2 Out (A, B & C) ................................. 5 - 12 Monitor Outputs (Mon A Out, Mon B Out, Mon C Out) .........................
Table of Contents EDIT ....................................................................................................................... 7 - 11 CUES ...................................................................................................................... 7 - 11 SNAPS ................................................................................................................... 7 - 11 AUX A-D ..............................................................................................
Table of Contents Pass Join ............................................................................................. 7 - 28 Example ........................................................................................................................ 7 - 28 Exercise 2 ............................................................................................ 7 - 28 Pass Join Event Entry ............................................................................................
Table of Contents Single Level Groups........................................................................... 8 - 12 Group Solo Modes ............................................................................. 8 - 12 Group PFL - NO! ..................................................................................................... 8 - 12 Group AFL Normal Mode ....................................................................................... 8 - 12 Group AFL Kill Mode ............................
Table of Contents Dynamics Factory Presets (Modes) ............................................... 9 - 39 Dynamics Factory Presets: Expander Mode .......................................................... 9 - 40 Dynamics Factory Presets: Peak Limiter Mode ..................................................... 9 - 41 Dynamics Factory Presets: Gate and Auto Comp Mode ....................................... 9 - 42 Dynamics Factory Presets: Ducker Mode ............................................................
Table of Contents Exercise 1 ............................................................................................ 11 - 4 Setting Up a 5.1 Panner ........................................................................................ 11 - 4 Selecting a Format ................................................................................................ 11 - 5 Selecting a Channel .............................................................................................. 11 - 5 Selecting a Bus ..
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Section 1: Introduction 1 INTRODUCTION EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual 1-1
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Section 1: Introduction SECTION 1 : INTRODUCTION T he Euphonix CS3000 & CS2000 are digitally controlled analog audio mixing systems. The system foundation consists of four component parts: the digital Mix Controller, the Audio Tower, the patchbay, and the support computer. System Component: The Mix Controller The Mix Controller resembles a conventional control surface in many ways, with rotary controls, faders, and routing displays.
Section 1: Introduction The Audio Tower faders worth of audio. Consoles above 56 faders have two Audio Towers; the first houses the audio electronics for 48 faders, and the second for up to 56 faders, making a potential maximum of 104 faders. The bottom 4 channel slots in the first Tower of a 2-Tower system house the bus link cards, which bridge the audio between the two Audio Towers.
The Support Computer Section 1: Introduction The Euphonix system includes a high-speed, 19” rack-mounted support computer. The support computer is connected to the Mix Controller via a high speed data link which enables it to manage all of the other computers in the Mix Controller. It drives the screen display and the disk storage facilities as well. During automation the support computer keeps track of all the moves and transfers mix data to and from the Mix Controller.
Section 1: Introduction I/O Channel Module 0 0 6 6 24 18 42 36 60 33 U B Outputs 1, 2, & 3 Source display 12 48 60 33 Output Source Select PPM/VU meters 6 42 12 48 3 30 6 36 0 24 3 30 Channel Block 3 12 0 18 6 6 3 12 F M1 2 M1 2 L1 2 L1 2 L3 4 L3 4 Out 1 Out 2 L M1 2 L1 2 L3 4 Out 3 Channel Attention key Universal Input Blocks, M1 & M2 Aux Send Blocks M1 Phantom Power indicator Phase Rev & Hi Pass Filter indicators Input Pad indicator M2 Phantom Power indicator P
Section 1: Introduction Master Module 0 6 6 12 18 24 Software Configurable Master PPM/VU meters 30 36 42 48 0 18 36 30 36 42 12 48 60 33 24 6 42 12 18 3 30 6 12 0 24 3 6 3 12 0 0 6 6 3 48 60 33 0 6 18 24 3 36 42 12 Meter Assignment indicators A1 A5 A2 A6 A3 A7 A mon C mon D mon 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 A1 A3 ON A5 ON BAL SET A7 ON ON BAL ovld BAL ovld A2 ovld A6 ON A8 ON ovld A monitor B
Section 1: Introduction The DSC Color Graphics Display Timecode Window continuously displays incoming code and code type Unique Dynamics & EQ display screens provide real-time visual display of processing status Snapshot List showing the 50 snapshots instantly available to the engineer by use of the Master Control Panel or Assignable keys Built-in TFT active-matrix color graphics screen eliminates the need for an external graphics monitor.
Section 1: Introduction can be used as a reference guide. However, we strongly suggest that you go through the Tutorial, which uses examples to illustrate how the system operates. Section 2 explains the file structure and how to save your work. Subsequent sections then take you through operation of the whole console using examples and exercises. Section 7 covers the automation system in detail. Section 9 describes the operation of the software-integrated Euphonix ES108A Dynamics unit.
Section 1: Introduction Block diagram symbols. These symbols represent the functional blocks of audio circuits and are used to illustrate the finer points of signal flow and routing through the console.
Section 1: Introduction The DSC (Digital Studio Control) Module Digital Control The Digital Studio Control Module (DSC) is the central control module that is required to run MixView software Versions 2.4 and later. The unit is available to retrofit into systems without it. The DSC provides a highly sophisticated integrated control surface with built-in color TFT display, eliminating the need for an external graphics monitor.
Section 1: Introduction The Master Control Panel on the DSC is used in conjunction with the screen display as the primary user interface for the console. The Function keys (F1, F2, F3 and F4) below the SmartDisplay are used to access SmartDisplay menus. The SpinKnob and +/– keys scroll through lists on the DSC screen. Specific menu and key functions are detailed in the appropriate sections of this manual.
Dedicated Keys Section 1: Introduction The Routing keys in the lower left section are used to route signals through the individual channels to various console buses. The All aux, All upper, and All lower keys allow quick configuration of Punch and Template modes. Others allow immediate access to automation modes such as Trim and Absolute without the need to go through menus in the SmartDisplay. These modes are covered in detail in the Automation section.
Section 1: Introduction Using the Dedicated Keys Below are the basic functional descriptions of the Dedicated Keys. A more detailed description can be found in the Automation section. The purpose of these keys is to provide quick access to menu items in the SmartDisplay. Access template on screen display and Template menu in SmartDisplay.
Section 1: Introduction Located at the top of the DSC, the 12 continuous-turn encoder controls that make up the Assignable Rotary Control Set are mapped to the screen display. They are used to control EQ, dynamics, CUBE aux sends, CUBE multi-format buses, and master CUBE bus trim levels. Each of the 12 rotary controls has a Function key associated with it. The operation of these rotary controls and Function keys depends on the mode selected.
Section 1: Introduction Mode Select Keys At the bottom of the Rotary Assign area are the Rotary Control Select keys. These keys select different control functions for the assignable control set, such as EQ, dynamics, auxes, multi-format panning, etc. Four Page keys switch between pages/screens of functions. Sometimes only Page 1 is used. In Dynamics mode, for example, Page 1 shows gate/compress parameter controls and Page 2 shows filter adjustment controls.
Section 1: Introduction With the EQ mode selected from the DSC, pressing an EQ attention key located in the lower fader block (or a DSC Channel Selection key) will cause the EQ user interface to appear on the screen display. This includes the EQ curve and the EQ controls and switches which are mapped down to the Assignable Rotary Controls and Function keys.
Section 1: Introduction Dynamics On systems equipped with dynamics, pressing the [Dyn] key will access the Dynamics menus and screen. Now either the EQ attention key on the channel strip or the channel selection keys on the DSC can be used to access the assigned dynamics channel. If no dynamics are assigned to a particular desk channel, the screen display will reflect this. Setup and assignment procedures as well as other available modes are covered in the Dynamics section.
Section 1: Introduction Situated at the top right of the DSC, this control panel has many uses. The 8character display to the left of each Assignable Key is used to tell the operator what the function of the key is. Its function depends on what mode or page is currently selected. Software-defined controls enable Euphonix to add new features to any of the control sections of the console.
Section 1: Introduction The 48 numbered Select keys have multiple uses. An amber blinking LED indicates the selected channel. After selecting a block attention key (mic pre, aux, upper/lower fader, EQ1 or 2) on a channel strip, you can access the same block of any other channel via these switches. For example, press channel 1’s EQ1 block attention key. Now use these Select keys to select channel 5. Channel 5’s EQ1 block is now displayed.
Section 1: Introduction Track Assign Keys Rec Rec Rec Rec These keys are for future implementation. At this time the displays are used to monitor MIDI timecode returning to the DSC. Note: this reader does not display frames. Transport Controls The Transport keys are used for MIDI Machine Control of compatible tape transports such as the Tascam DA-88™ and the Alesis ADAT™.
Section 1: Introduction Assignable Moving Faders The Assignable Moving Faders are used for central control of any channel’s upper and lower faders. Using the Channel/Route Select keys, or any fader block key, gain attention of a channel strip. Now that channel’s upper and lower faders and mutes can be controlled directly from the Assignable Moving Faders. It is possible for the engineer to record automation fader moves and mutes on any channel from the DSC.
Key 9 12 15 21 30 2 4 6 Key MIDI Mon Key 2 4 6 9 12 15 21 30 MIDI Mon Key Euphonix CS3000/2000 Operation Manual MIDI Mon Key 2 4 6 9 12 15 21 30 MIDI Mon 9 12 15 21 30 MIDI Mon Key 9 12 15 21 30 2 4 6 2 4 6 9 12 15 21 30 MIDI Mon Key MIDI Mon ∑ The console aux buses can be linked into the Cube buses integrating the two Aux systems into one Bus Insert IN/OUT 1 of 48 possible Bus Master Via the Cube 48 3 Direct Bus Inject Inputs with link switch 4 2 1 The Dirs can be
Section 1: Introduction CS3000P/B I/O Block Diagram (Rev F) ES108 A Dynamic Range Processor/Emulator Key 2 4 6 9 12 15 21 30 2 4 6 9 12 15 21 30 MIDI Mon Dynamics Key 2 4 6 9 12 15 21 30 MIDI Mon Key 2 4 6 9 12 15 21 30 MIDI Mon Key 2 4 6 9 12 15 21 30 Each optional dynamics provides variable hipass & low-pass filters.
Euphonix CS3000/2000 Operation Manual PWR PAD PWR PAD M1 has CMB/Input switch 6:1 M2 & L4 have Bus/Input switch DYN1 DYN2 EQ1 EQ2 This symbol represents a six (6) input selector/summing circuit. It can select and sum any combination of the inputs. 1-24 (Channel 1 picks up bus 1 etc..
Section 1: Introduction CS3000 Master Audio Block Diagram (Stereo Outputs) STEREO 1 BUS L R ∑ BUS AMP Bal Out ∑ BUS AMP Bal Out Pre-fader feed to ST1 C ST1 Stereo pre-fader insert relays linked together Bal Out ST1 feed to Mon Select & Meters Bal Out Bal Out ST1L(A) ST1R(A) ST1L(B) ST1R(B) ST1L(INS) ST1L(C) External Stereo Comp Bal Out ST1R(INS) ST1R(C) STEREO 2 BUS L R ∑ BUS AMP Bal Out ∑ BUS AMP Bal Out Pre-fader feed to ST2 C ST2 Stereo pre-fader insert relays linked together ST
Section 1: Introduction CS3000 Master Audio Block Diagram (Aux & Monitor Outputs) Aux Bus 1 - 8 Talkback Select and Feeds to Buses ∑ Aux Masters Bus Amp Bal Out ∑ Bus Amp Bal Out ∑ Bus Amp Bal Out ∑ Bus Amp Bal Out ∑ Bus Amp Bal Out ∑ Bus Amp Bal Out ∑ Bus Amp Bal Out ∑ Bus Amp Bal Out Left ∑ Bus Amp Right ∑ Bus SOLO Amp Sine Osc AUX 2 EXT TB IN ∑ Mic Amp TB OUT or AFL/ PFL Bus ST1 ST2 Bus EXT1A L Ext In B Ext In C Ext In A Ext In B Ext In C Ext In ∑ EXT1
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Section 2: Getting Started 2 GETTING STARTED EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual 2-1
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Section 2: Getting Started SECTION 2 : GETTING STARTED M The Screen Display any of the controls on the CS3000/2000 are similar to those on conventional consoles; faders, meters, pans, aux sends, mute switches, etc. A big difference is the software interface displayed on the TFT screen and the alphanumeric SmartDisplay located on the Master Control Panel. The screen display acts as an extension of the console surface and interacts with selections on the console.
Section 2: Getting Started The Status Bar is an important part of the screen display, giving the user comprehensive system feedback in a very compact space. The symbolic nature of the information (the use of meaningful icons, colors, etc.) gives the operator more information at a glance. Much of the information in this diagram will be covered in the Tutorial and Automation sections, so don’t worry about understanding everything now.
The SmartDisplay and Master Control Panel Section 2: Getting Started The SmartDisplay is located at the top of the Master Control Panel on the DSC (See the Introduction section). The SmartDisplay tells you what each of the four function keys (F1-F4) do if you press them. Their actions vary depending on the menu displayed; use them to navigate through the console menus.
Section 2: Getting Started File Hierarchy Euphonix console data is organized in a basic “file system” structure. The drives are at the top of the hierarchy, followed by projects, titles and mixes. Remember that drive C: is the computer’s internal hard drive, that D: is the removable disk drive and that A: accesses the 3.
Euphonix CS3000/2000 Operation Manual 5 Pro 12 jec ts • Project Comments • Project Creation Date/Time • Title List - *limited only by disk capacity HD un li Tit mited les * • CS3000 • ES108A • Title Comments • Title Setup • Title Name • Last Mix used • Mix List (200 Mixes) Project • Cube • MIDI Sn 5 ap 0 S ho ts User SnapShots Title Setup Info MISC: includes: 2 Mi 00 xes • CS3000 • ES108A Automation • Cube • MIDI • Automation Database (1000 Passes) • Automation Templates (CS3000) • Punch T
Section 2: Getting Started You can change the currently selected list by invoking the Disk list.
Section 2: Getting Started Go to the File menu. If you are in the Drive menu at the top of the last page, simply [Esc]ape back up to the File menu. Press [F2] (Project): New Project File Menu Project Menu Disk: Project Title Mix F1 F2 F3 F4 New? ReNm? Del? Copy? F1 F2 F3 F4 Press [F1] to create a new project. You will be prompted to name your new project. The project name could be the record, film or TV series, or could represent an individual operator’s user space.
Section 2: Getting Started You can rename a project from the File menu by pressing [F2] (Project), [F2] (ReNm?) and then [F3] (Yes) to confirm: Rename Project File Menu Disk Project Title Mix New? ReNm? Del? Copy? F1 F2 F3 F4 F1 F2 F3 F4 Rename Proj? F1 F2 Yes [No] F3 F4 Project Menu A prompt on the monitor screen will allow you to type in a new name (up to eight characters for a project). When done you can press the keyboard [Enter] key or [F3] (Yes).
Section 2: Getting Started The following menu appears: Copy Proj ? F1 F2 Yes [No] F3 F4 …together with a screen prompt so that you can rename the project before you make the copy. If you intend to copy back to the current drive then you must rename the project. If you try to copy the project to the same disk as a project with the same name, the copy process will automatically abort. If you’re copying to the another drive, you don’t need to rename the project.
Section 2: Getting Started Title Hierarchy Disk A: Floppy movable Disk C: Internal HD Project 1-Synclav 2 Project 2-DEMO II Disk D: ReProject 3-RKK Title 1 The Montage Title 2 AES Paris Montage Reebok Demo Audio Cube Assignments Dynamics Assignments MX464 GPI Relay Assignments Comments Setup Cues Macros Snapshots (50) Mixes Title 3 All this is saved with the title Mix 1 Title Snapshot Template Dynamic moves (passes) Mix Mix 2 - Current Mix Snapshot Template Dynamic moves (passes) Current title a
Section 2: Getting Started You can enter comments about a particular title by pressing the Tab key when the title has been highlighted. When in the Comments field, simply type in your comments and press Tab again to exit. To move between titles when in the Title list, use the SpinKnob or the DSC [+]/[–] keys. Title Comments Now that you have a title you can start to work and save what you do.
Section 2: Getting Started Now select another title using the SpinKnob or the DSC [+]/[–] keys. When the desired title is highlighted in the list, press [F2] to load it. You will be prompted with the following menu: Load Title ? F1 F2 Yes [No] F3 F4 The monitor screen will also show a prompt. To load the selected title, press [F3] or the [Enter] key on the DSC Numeric keypad. Pressing [F4] or [Esc]cape will abort the title load.
Section 2: Getting Started When the currently selected title is copied, you will be given the chance to rename the title before the copy is made. You cannot rename a title that is in use. You cannot copy a title to a disk without a project name on that disk. Make sure to create a project on a disk before attempting to copy to that disk. Backing Up Titles onto a To make a backup copy of a title on a removable cartridge: 1. Insert a DOS, preformatted removable cartridge in the D: drive.
Section 2: Getting Started T/C Standard - Allows the timecode type to be changed manually although the type will automatically be selected after reading incoming timecode for a couple of seconds. A manual change is useful if you want to perform off-line editing and need to change the timecode type to match a particular standard.
Section 3: SnapShot Recall 3 SNAPSHOT RECALL EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual 3-1
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Section 3: SnapShot Recall SECTION 3 : SNAPSHOT RECALL B efore even attempting to look at signal routing you should learn how the SnapShot Recall system operates. This is one of the most powerful features of the console and it will completely change the way you approach all aspects of mixing. All controls and switches on the console may be stored to any one of 50 memory locations within a title. They can then be instantly recalled to reset the entire console.
Section 3: SnapShot Recall Interactive Screen Display The list in the right half of the screen lists the SnapShots in the console. When a new title is created and named (see Section 2), the current set of console SnapShots is stored in the the new title. Currently Selected Title Currently Active SnapShot SnapShot selected in SmartDisplay ready for recall. As you change the SnapShot number, the highlight bar will move up and down the list.
Section 3: SnapShot Recall To get to the SnapShot Recall menu from the Master Control Panel, simply press [F2] (Snap) in the Main menu of the SmartDisplay. You are now in SnapShot mode. SnapShot Mode Setup Snap Auto Grps F1 F2 F3 F4 **SS=1 a RCL 1 F1 F2 F3 F4 Turn the SpinKnob and you will see the number on the far right end of the SmartDisplay change. You can spin to any number from 1 to 50. These represent the 50 SnapShot Recall memories in the current title.
Section 3: SnapShot Recall SnapShots can be stored using the DSC Assignable Keys or the Master Control Panel. From the DSC Assignable Keys section, press the SnapShot mode key. This puts the Assignable Keys in SnapShot mode. Next press the Store key and name your SnapShot from the keyboard, then select the SnapShot page (Pg 1-4). Each page displays 16 SnapShots except Page 4 which displays 49 & 50 and the Default, Auto Null On/Off, and Physical keys.
Section 3: SnapShot Recall A red box in the SnapShot list on the DSC screen, indicates that the adjacent SnapShot is stored in the Mix Controller’s RAM only. The new SnapShot will not be saved to disk until you save the title. When you are finished with a title, save the title and all SnapShot data will be saved to disk (subsequently Color of box indicates whether indicated with a green box).
Section 3: SnapShot Recall Nulling Controls Standard Faders Input Null indicators M1 M2 L1 L2 L3 L4 EQ•Dyn PAN BAL ovld 1 L When a SnapShot is recalled you will notice a number of red indicators on the console light up. As you recall a SnapShot, the audio electronics in the Tower instantly reset to match the SnapShot audio levels. These levels may be different from the actual physical positions of the controls, in which case a red “null” indicator lights up next to the control.
Section 3: SnapShot Recall Auto Null Selected (a) Fader AutoTakeover from a Snapshot Red Green Red Recall Snapshot. Fader has been moved so RED indicator shows direction the fader has to be moved to reach the null point. Fader is disconnected from audio. Store Snapshot **SS=11 m = Manual Null* **SS=11 Manual Null Selected (m) m RCL As the fader passes through the null point, control is automatically regained and the fader becomes active. The red indicators go out.
Section 3: SnapShot Recall The same nulling laws apply to rotary controls as faders, although the red indicator does not show the direction of the null point. When the control passes through the null point the red LED goes out and the rotary control is now active. PAN BAL Each time you recall a SnapShot, it is not necessary to null every control. You will instantly hear the recalled settings. Null a control only if you need to modify an audio level.
Section 3: SnapShot Recall Normally if the power fails while you are working on a computer-based console, you might lose changes made since you last saved your settings. However, the Euphonix has a built-in automatic backup system which stores the entire console to battery-backed RAM on a regular basis. You can set the frequency of this auto-backup procedure from the Console Backup menu. If you ever need to recall the backup SnapShot it is also done via this menu.
Section 3: SnapShot Recall The backup SnapShot is taken in the background while you work. It is worth mentioning that the shorter your interval time is, the less time you have to recall the SnapShot should you need to. If your interval is set to 1 minute and you experience a power failure, once the power is restored you have only 1 minute to recall your backup SnapShot before it is updated again.
Section 4: Tutorial 4 TUTORIAL EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual 4-1
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Section 4: Tutorial SECTION 4 : TUTORIAL P lease read Section 2 before proceeding with the Tutorial so that you can store and recall the routing setups you construct. You will need an audio source to route through the patchbay; it can be a CD player, DAT machine, or even a tone generator. We will begin by introducing the functional components of the audio path. In the first exercise, we’ll route audio signals from the patchbay to the stereo bus and then to the monitors.
Section 4: Tutorial The channel strip is organized into 7 channel blocks. Each block has its associated attention key located within the block. These are the Channel block, Universal Input blocks (M1 & M2), Aux Send blocks (A/B & C/D), Upper Fader Source Indicators block, and Lower Fader block. Take a moment to identify the individual blocks of a channel strip on your console using the diagram on page 1-6.
Section 4: Tutorial Exercise 1 In this exercise we will construct a stereo signal path to route a stereo source through the console and out to the monitors. Stereo Source/ Stereo Fader/ Stereo Bus/ Monitor Begin this exercise from a “Default” (or zeroed) console, and create a new title in which to store your Tutorial work. Patch your sound source into the M1 & M2 inputs of a channel. We will use channel 16 for this example.
Section 4: Tutorial Mode SIDE NOTE: The default fader mode is mono. Let’s select a MODE for the lower fader block. This can be done directly from the Numeric keypad or by using the SpinKnob. If you are familiar with the modes by number (see Appendix A-3), enter the mode number and then press the DSC [Enter] key. In our example we will use Mode 7-Stereo. Press 7 (you will see 7 blinking in the SmartDisplay) then press the DSC [Enter] key. The other way to select modes is to use the SpinKnob.
Section 4: Tutorial Global Channel (I/O) Meter Mode Selection SIDE NOTE: Assigning meter modes globally by using the DSC Mtrs key, always overrides and changes any individual channel meter assignments. For the global setup, press the DSC [Mtrs] key, then [F2] (I/O): Mode I/O Master F1 F2 F3 **CH->Aud:OFF F1 Meter Menu F4 Aud->OFF F2 F3 Meter Config Menu F4 The two asterisks (**) preceding the channel designator indicate that we are affecting all I/O meters simultaneously.
Section 4: Tutorial Pressing [F2] again toggles the meter mode between Aud (Audio signal) and Lvl (DCA level). This menu structure allows each meter’s source to be assigned using the SpinKnob or [+]/[–] keys. The following list details available selections: LEFT METER: Aud: M1, L1*, L3, CMB*, MT, LFL, UFL, OFF Lvl: UF, UP, A, C, M1, OFF, LF, LP, B, D, M2 + Bus DIR SIDE NOTE: Any combination of sources you cannot monitor directly can be monitored using the Combiner.
Section 4: Tutorial SET A monitor DIM SET The CS3000/2000 is equipped with 3 monitor speaker outputs labelled A, B & Monitor ST1 C. Each monitor section has its own Level control, DIM, and SET keys. We will Source ST2 assume there are amplified speakers connected to the “A” Output. We will Selection BUS Kill B monitor SOLO A B DIM C Active SET C monitor It is useful to note that the selections in the Monitor Set area are additive and not intercancelling.
Section 4: Tutorial Universal Input Amplifiers (UIAs) M1 & M2 Let’s return to the channel and adjust the input levels to assure a reasonable gain structure. To do this we need to look in more detail at the Universal Inputs (M1 & M2). Press M1’s block key to access its control parameters. U.I.A. Menu M1 Pwr 16M1–> low/ 0.
Section 4: Tutorial Phase Reverse, Filter, Phantom Power Pwr Each U.I.A. has phase reverse, high-pass filter (3dB down at 100Hz), and phantom power control. Press the M1 block key to access the U.I.A. menu then press [F4] (Cnfg) to access the U.I.A. Configure menu: M1 Pad ovld 16M1–> PWR Ø F1 F2 F3 F4 [F2], [F3], & [F4] toggle the options on and off.
Section 4: Tutorial Select EQ2’s source in a similar manner by pressing the EQ•Dyn 2 attention key then the [M2] Source Dedicated Key. As before, this routing selection is also seen in the far right of the SmartDisplay within the insert icon. 16E2–> lmG 0.0dB –>M2>- F1 F2 F3 F4 The EQ may be switched in and out of circuit by pressing [F4] or by pressing the rightmost of the 4 Function keys just below the Assignable Rotary Control Set. (See the Introduction Section.
Section 4: Tutorial Adjusting EQ with the DSC Once the EQ is accessed, the Assignable Rotary Control Set at the top of the DSC is mapped to the EQ. The control assignments are shown on the screen display along with the actual EQ graph: Controls mapped to DSC Rotary Controls These switches are mapped to the DSC Function keys just below the Rotary Control Set. SIDE NOTE: Default EQ Values Refer to the Introduction section for more information on the mapping of these controls.
Section 4: Tutorial EQ Screen Display Info Bar EQ(1) or EQ(2) EQ Routing (bypassed) EQ 1 (M1) 15 15 12 12 9 Low Range (Red) Lower Mid-Range (Yellow) High Mid-Range (Green) 9 High Range (Blue) 6 6 3 3 0 0 3 3 6 6 9 9 12 12 15 15 21 41 Gain/Attenuation in dB 82 165 330 659 1.3K 2.6K 5.3K 11K 21K Frequency in Hz Frequency Range The frequency range of each of the 4 bands is shown on the screen.
Section 4: Tutorial EQ Curves As the EQ parameters are adjusted, the graph instantly displays an accurate representation of the EQ response curve. The illustration below shows the low gain increased to +12dB at 82.4Hz. Note that +12dB refers to the infinite limit of the EQ boost (the horizontal asymptote to the curve) and not to the amount of boost at the actual filter cut-off frequency. This is typical of an analog EQ. EQ 1 Adjusting Low Gain +12dB @ 82.
Section 4: Tutorial Musical Note Value Display The EQ can be switched from Frequency to Note mode. In Note mode, the horizontal scale on the graph as well as the SmartDisplay frequency values will show musical notes on a 12 note, A440 scale as the controls are adjusted.
Section 4: Tutorial Adjusting the EQ Using Keypad The EQ can be adjusted using the numeric keypad and the SpinKnob on the DSC Master Control Panel.
Section 4: Tutorial Cascading 2 EQs to Produce an 8-Band EQ SIDE NOTE: The diagram below shows the signal path with two EQs in cascade mode: Current software does not allow the composite EQ curve to be shown on one graph. You must view the EQ1 and EQ2 curves separately. M1 Up to now we have only covered placing one EQ in each signal path (i.e., EQ1 to M1 and EQ2 to M2). It is possible for both EQs to be assigned to a single source. Select M1 as the source for both EQ1 and EQ2.
Section 4: Tutorial Exercise 2 Stereo Inserts into Audio Path Source indicators illuminate as Out 1, 2, & 3 sources are selected. M 1 B2 M 1 2 M 1 2 L1 2 L1 2 L1 2 L3 4 L3 4 L3 4 Out 1 Out 2 Out 3 In this exercise we will construct a post-EQ stereo insert point inserted into the signal path. First we will send M1 & M2 to Out1 & Out2 respectively. Outs 1 & 2 appear at the patchbay and are now effectively the insert sends.
Section 4: Tutorial Insert Diagrams, Pre- & Post-EQ At this point, you should patch an external device, such as a stereo limiter, across the Out1/L1 and Out2/L2 insert points. The signal flow looks like this: EQ1 M1 PWR 4 Band EQ SIDE NOTE: Stereo Links M2 When an EQ and an Out are both assigned to the same source, the EQ always comes first in the signal path.
Section 4: Tutorial Exercise 3 Multitrack Monitoring Start by clearing channels 1 through 24. Press channel 1’s channel block attention key at the very top of the channel strip. Next press the [Clr] key on the Master Control Panel. You will see the following message in the SmartDisplay prompting you to confirm: Clear Channel B M1 2 M1 2 L1 2 L1 2 L3 4 L3 4 Out 1 Out 2 Pwr The next group of exercises and examples will require a multitrack recording system.
Section 4: Tutorial Clear/Copy Objects Clearing/copying may also be performed on objects such as Pan, Faders, etc. Recalling the Default Snapshot (Zeroing the Console) Instead of having to copy cleared channel strips throughout the console to clear it (zero the controls), a “default” SnapShot has been provided in software and can be recalled at any time.
Section 4: Tutorial Construct Signal Path Press channel 1’s lower fader block key. Select [L4] as its source, [ST1] as its assignment and the mode to #5 (Mono Pan). The button sequence is: 1. 2. 3. 4. Press Ch 1 [LF block key] and go to the Master Control Panel. Press [L4] Dedicated Key (sources the fader from L4 input). Press [ST1] Dedicated Key (sends the fader to Stereo bus 1). Select Mode 5 (Mono Pan) using the SpinKnob or DSC keypad.
Section 4: Tutorial Sound! Turn the faders on and bring up their levels. Assuming the Monitor section is set up from Exercise 1, you should be able to do a monitor mix of your multitrack program to ST1. Add EQ To add EQ to an input, press the desired channel’s [EQ•Dyn](1) attention key. Source the EQ from L4 by pressing the [L4] Dedicated key. This will insert the EQ into circuit.
Section 4: Tutorial As with our stereo channel inserts from Exercise 2, the EQ is placed postinsert point by sourcing the EQ from L3 rather than L4: BUS L4 Line Input 4 OUT3 Post-insert EQ STEREO 1 BUS L R Line Output 3 Dynamics Processor L3 Line Input 3 PAN 4 Band EQ LF If you have assigned an insert loop, either complete the loop using patch cables, insert a processor device, or un-assign the inserts before continuing. This concludes Exercise 3.
Section 4: Tutorial equally to two buses, select Mono mode. For this experiment choose “Mono Pan” mode. The M1 signal is now assigned via the upper fader and pan, to multitrack buses 1 and 2. This follows standard conventions of an I/O strip. Bus Summing Amps The signal is sent down buses 1 & 2 to the associated bus summing amps. As in conventional in-line consoles, the summing amp resides in the I/O of the same number, (i.e., bus amp 1 resides in channel 1, bus 2 in channel 2, etc.).
Section 4: Tutorial As mentioned earlier, it is common to normal multitrack outputs to L4 because the L4 input can be switched to monitor either the machine output (normal setting) or the bus feed.
Section 4: Tutorial The signal path now looks like this: Multitrack Buses 1 2 M1 PWR PAN 4 Band EQ Channel 1 Upper Fader Mic Source Signal Path Channel 1 Lower Fader Multitrack Monitor Signal Path DIR1 Bus ∑ Summing Amp Direct Out 1 Multitrack Machine UF BUS L4 Line Input 4 STEREO 1 BUS L R OUT3 Line Output 3 Effects Device L3 Line Input 3 PAN 4 Band EQ LF Stereo Inputs to Multitrack A stereo microphone, or a pair of microphones, can be routed to the multitrack buses using only one fade
Section 4: Tutorial Auxiliary Sends There are eight (8) auxiliary send buses which have their master gain controls labelled A1 to A8 in the upper part of the CS3000/2000 Master Module. Each of the eight masters has a gain control and an on/off key. Overview There are four (4) aux send controls on every CS3000/2000 Mix Controller channel I/O strip labelled A, B, C and D and divided into two console aux blocks (A/B) & (C/D).
Section 4: Tutorial M1 M2 DIR L1 L2 ST1 Press the DSC [L4] key to directly assign the aux source routing: Aux Source Menu 16A-> F1 L3 L4 L4<-p. . F2 F3 F4 ST2 Press the DSC keypad [1] key to directly assign the aux send to aux bus 1: Aux Assign Menu 7 8 16A-> BUS 1 F1 F2 F3 9 4 5 6 1 2 3 F4 Press the DSC [right arrow] key to direct attention to aux send B.
Section 4: Tutorial For reference, the possible aux send pre/Post routing configurations as seen in the Aux Status menu are: pre PostLF PostUF pre lower & upper fader post lower fader post upper fader Fader Source Tracking Aux source selections are independent from fader source selections by default. However, if desired, you can set any aux send to “track” a fader’s source selection changes using the Fader Source Tracking feature.
Section 4: Tutorial Once source tracking is enabled, an aux control’s routing is automatically set to Post fader. After setting an aux send to track an Upper fader, the PostLF option becomes unavailable in the top level Aux Status menu. Conversely, if tracking is set to Lower fader, the PostUF option becomes unavailable. This concludes Exercise 6. Mono Independent ”0dB” Locked Mode Additionally, you can lock the Mono Ind aux level control at 0dB.
Section 4: Tutorial For the benefit of existing users who have upgraded to MixView 3.
Section 4: Tutorial Press the [*ST] key again to select MonoPan mode: M1 M2 DIR L1 L2 ST1 L3 L4 ST2 16AB-> MnPan Ctr Ind? F1 F2 F3 F4 Press the DSC [L4] key to directly assign the aux source routing: 16AB-> L4<-p. .
Section 4: Tutorial Exercise 8 In this exercise, we will setup channel 16’s aux send A & B as a stereo in/ stereo out level and pan feed.
Section 4: Tutorial Stereo Center Locked mode There are some additional stereo-in variations which bear mentioning at this time.
Section 4: Tutorial SOLO AFL and PFL Each fader block is affected by these solo modes. The functions of these keys are configured in the SOLO menus. Access these menus by pressing the [SOLO] block key in the Master Module. Kill SOLO A Solo Menu B mSO-> SAFE CLR Cnfg F1 F2 F3 F4 C Active PFL [F2] allows faders to be Safed (isolated from the Kill Solo mode). [F3] clears any selected AFL or PFL buttons on the console.
Section 4: Tutorial KILL SOLO Mode (Solo In Place) mSO-> KILL ALL ASGN F1 F2 F3 F4 Pressing [F2] in the Configuration (Cnfg) menu toggles between Normal (AFL) & Kill Solo operation. When in the Kill Solo mode, pressing an AFL key next to a fader will cut all other faders. This mode implements “solo in place”. SIDE NOTE: When you want to solo wet, make sure that the aux sends to FX devices you are using have been set as post-fader sends (the default setting is pre-fader).
Section 4: Tutorial Direct Outputs Each channel has two DIRect outputs to the patchbay (labeled DIR1 and DIR2). The two DIRs can be used as separate mono feeds or as a stereo direct out. The DIR source is configurable to be the group bus amp, post upper fader, post lower fader, or the Combiner (the 6:1 submixer).
Section 4: Tutorial If for example, a stereo source is feeding into the upper fader via M1 & M2, we can construct a mono summed, post-fader output of this source without putting the fader in mono mode. We will use DIR1 for the example. Selecting DIR from the DSC’s dedicated assign keys (as previously described) will only provide the left signal (M1) to DIR1. To get a truly mono sum of M1 & M2 , both M1 & M2 must be assigned to DIR1.
Section 4: Tutorial In this example, a mono feed of the stereo upper fader is required. While viewing the DIR1 menu, use the SpinKnob to see UFL, press [F4] to select. Spin to UFR and press [F4] again. Remember that any number of these 5 additional sources may be additively routed to the Direct Output so make sure only UFL & UFR are selected. If you deselect all of the 5 additional sources, BUS is automatically selected again.
Section 4: Tutorial As mentioned, the Combiner’s output can be switched into the M1 input in place of the M1 patch point. First press the [M1] block attention key and then [F2] to select the Combiner as the M1 source: EQ1 M1 has CMB/M1 switch M1 EQ2 16M1–> low / +20.0dB Cnfg F3 F4 +17.0dB Cnfg F3 F4 PWR PAD F1 M2 F2 PWR PAD L1 L2 L3 16M1–> CMB / L4 F1 BUS 1-24 From Combiner F2 If you do this, you will not be allowed to source the Combiner from M1.
Section 4: Tutorial Combiner to DIR1 Assign the Combiner to DIR1 by using the SpinKnob to spin to CMB & then press [F4]. The square next to CMB shows that DIR1 is being fed from the Combiner. The signal flow diagram for this configuration is shown here: STEREO 1 BUS L R EQ1 M1 PWR 4 Band EQ Stereo Links M2 BAL PWR 4 Band EQ LF M1 EQ2 M2 DIR1 Direct Out 1 ∑ Combiner Example 2 - You want to mono 4 line inputs, equalize this signal and then send it to the stereo buses.
Section 4: Tutorial This is the signal flow diagram we’ve constructed in Example 2: L1 Line Input 1 L2 Line Input 2 L3 Line Input 3 BUS L4 Line Input 4 ∑ Combiner STEREO 1 BUS L R EQ1 M1 PWR PAN 4 Band EQ LF Note also that you still have M2 free for an additional input, with EQ, to the stereo buses via the upper fader! The versatile architecture of the Euphonix console makes this type of routing flexibility possible.
Section 4: Tutorial The M1 gain control now controls the signal level feeding the multitrack. Below is a diagram of the signal path now: EQ1 M1 PWR 4 Band EQ DIR2 DIR1 Direct Out Multitrack Machine ∑ Combiner BUS L4 Line Input 4 This still leaves both faders free and plenty of channel inputs to feed them.
Section 4: Tutorial Master Module Signal Flow Options So far we have mainly concentrated on routing within the Channel I/O Module. It is worth just looking at the signal flow options available in the Master Module and how the various outputs get to the patchbay. Main Stereo Outputs There are two independent stereo buses called ST1 and ST2, both having three independently buffered post-fader outputs. On the Master patchbay you will see these outputs as ST1 - A, B, & C and ST2 - A, B, & C.
Section 4: Tutorial Switching the Stereo Insert Point After pressing the [ST1] or [ST2] attention key and then pressing [F4] (…), pressing [F4] again will switch the stereo insert point in and out. The icon above F4 changes to “–>>–” when the insert point is switched in. This icon also shows just to the left of the main fader when the insert is switched IN. The diagram opposite shows that ST1C is used as the stereo send and ST1 INS is used as the return jacks.
Section 4: Tutorial External Monitor Inputs Earlier we described the way sources can be routed to the 3 monitor outputs, A, B, & C. Brief mention was made of the two external inputs to the monitor matrix, EXT1 & EXT2. SET A monitor Just to recap, each of the three (3) monitor outputs, A, B, & C can be fed by any or all of the following sources: Aux 1-8, EXT1, EXT2, ST1, & ST2.
Section 4: Tutorial By selecting all three together a 1:1 mix of music, dialog, and effects can be monitored if EXT1 is selected. If there are more than three stripes, say for example an additional stripe for audience reaction, these feeds can be patched into EXT2 A, B, & C. If both EXT1 and EXT2 are selected to a monitor, then up to 6 stereo stripes may be auditioned together.
Section 4: Tutorial While we are in the Master menu it is worth looking at a couple of the other available options. Return to the Master menu by [Esc]aping back to the toplevel menu and pressing [F1] (Setup) and then [F1] (Mstr): Talkback ST1 A1 A3 A5 ST2 A2 A4 A6 TB EXT1 EXT2 … F1 F2 F3 F4 We have already looked at the EXT menus so let’s examine the Talkback options.
Section 4: Tutorial Pressing [F3] selects the Oscillator Frequency menu: ST1 A1 A3 A5 A7 ST2 A2 A4 A6 A8 mTB–> OSC 100Hz OFF F1 F2 F3 F4 F4 allows the oscillator to be swiched on or off, with indication in the SmartDisplay and in the Talkback block: Oscillator Patch TB MIC BUS mTB–> OSC F1 7 8 9 4 5 6 1 2 3 0 Enter Del 100Hz F2 ON F3 F4 + Bus The SpinKnob selects the frequency.
Section 4: Tutorial From the Talkback menu, press [F4] (ASGN): Talkback Menu Assign (Destination) Menu ST1 A1 A3 A5 A7 ST2 A2 A4 A6 A8 Oscillator Patch BUS TB MIC mTB–> SRC OSC ASGN F1 F2 F3 F4 mTB–> ASGN: F1 F2 A1 F3 F4 The SpinKnob will select the various destinations for the selected talkback sources. To select an individual source, press [F4].
Section 4: Tutorial [F3] selects the CLIP level options: mCL–> CLIP +24dB F1 F2 F3 F4 The desired level is set by spinning to the desired level with the SpinKnob or with the DSC [+]/[–] keys. This level can also be set by keying in the value, on the numeric keypad, followed by Enter. Normally this would be set to +24dB which would indicate actual clipping. Some engineers prefer to set the level slightly lower as a warning that the clip level is being approached.
Section 4: Tutorial Monitor SET Options SET A monitor ST1 ST2 When you wish to set a source for a monitor output, press the [SET] key in the appropriate monitor block. You will notice that as well as being able to set the source for the monitor in the monitor SET area, you can also set certain options for the monitor from the SmartDisplay Monitor Set menu which appears when you press the set key.
Section 4: Tutorial dim functions operate from Monitor B’s DIM key. Monitor C’s Level control and DIM key are not operational in this mode. This setup is perfect for 4-track monitoring during film mixing. With all three monitors fed from one monitor level control you can address monitoring for 6track film formats. You can set different feeds to each monitor by selecting the appropriate source in the monitor SET area for each output.
Section 4: Tutorial Film 4-Track Dolby Monitoring Diagram ST1 L Left Stereo Output 1 ST1 R Right Dolby DS4 Surround Sound System ST2 L 4 Track Decoded Output Center Stereo Output 2 ST2 R Surround Dolby Encoded Stereo to Layback Machine and to EXT1 B Input for Stereo Encoded Monitoring A Left EXT1A L Bal Out EXT1 A Left & Right A Right EXT1A R MON A Power Amp Bal Out A & B Mon Link. LnkB selected in Monitor A's Menu.
Section 4: Tutorial Film 5.
Section 4: Tutorial M/S (Sum & Difference) Modes The comprehensive internal routing structure of each channel allows for some interesting operational modes with M (Left and Right mono sum) and S (Left & Right difference) signals. Stereo Width Effect Using M & S Signal Encoding This is where a stereo signal is fed into the channel and split up into a mono sum and a stereo difference signal.
Section 4: Tutorial M/S Channel Operation Block Diagram M/S Encoder - Stereo Effect Signal Flow A (Left) Fader Source Select Phase Reverse Switched In M1 -A PWR Stereo 1 Bus L R M1 A-B B-A L1 B (Right) S Phase Reverse Switched In M2 -B PWR BAL M2 A-B UF Mode 10: Stereo Rev L2 L1 B B-A L1 Line In 1 A+B M L2 A L2 Line In 2 LF Mode 6: Mono MS Decoder A-B (S Difference) Phase Reverse Switched Out M1 A-B PWR The Math: Left = M + S = 2A = (A+B) + (A-B) Right = M - S = 2B = (
Section 4: Tutorial MIDI Machine Control Some MMC (MIDI Machine Control) devices can be controlled directly from the DSC’s transport keys. This convenient feature, designed primarily for the TASCAM DA-88 protocol, enables the operator to control these machines right from the console. These controls are also used to locate the automation system when editing off-line. The MMC device is connected to the DSC, as the MX464 is, via the MIDI Breakout Cable under the Mix Controller.
Section 4: Tutorial Rec Record Sends MMC Record command. Only one-touch record is presently supported. Pressing Play while recording will drop MMC device out of Record mode. Cycle Enable/disable cycling. More about this later. Shuttle/Jog When MMC is used to control an external tape machine, the SpinKnob can be used as a shuttle/jog wheel to advance or rewind tape at variable speeds. The Rewind and Forward buttons light to indicate direction of shuttle.
Section 4: Tutorial Locate Menu System The Locate menu is accessed by pressing the DSC Transport Control [Loc]ate key. When first pressed, the SmartDisplay menu allows the user to enter a timecode position or a Cue Number: Locate Menu 00:00:00.00 Mark Cue F2 F3 F4 F1 7 8 9 4 5 6 1 2 3 To locate to a specific timecode address, type in the numbers using the DSC Numeric keypad. Type in the TC address in hrs:mins:secs.frames as the address field is filled from right to left.
Section 4: Tutorial The Cue List menu and screen are viewed by pressing [F1] (down arrow) from the Locate menu: Cue List and Menu Locate Menu F1 Cue List Menu F1 00:00:00.00 Mark Cue F2 F3 F4 Cycle Head Edit F2 F3 F4 Manipulation of cues is done via the Cue List menu and its submenus.
Section 4: Tutorial Cue points enable the user to quickly and easily locate to specific timecode locations within the program. Cue points can be edited, and are saved and recalled with each title. The Cue list enables the engineer to store up to 999 cue points, name them, and easily navigate between them. The list can be viewed in the DSC screen display by pressing [F1] (down arrow) from the Locate menu.
Section 4: Tutorial the faster the device will shuttle forward. The further you turn the SpinKnob to the left, the faster the device will shuttle backward. When using the VTM (internal timecode generator), Forward, Rewind, and Shuttle only operate at Play speed.
Section 4: Tutorial Here is a quick overview of the functions available from the Cue List menu: Enter Create cue at current timecode location Select next/ previous cue in the Cue list - Delete (Clear) ALL cues Clr DIR Loc Delete selected cue Del + Bus Delete Cue ? Yes [No] F1 F2 F3 F4 Delete All ? F1 F2 Yes F3 [No] F4 Locate to selected cue timecode value Capture Cues “On The Fly” From the Cue menu press [F3] (Head) to locate to the title Head.
Section 4: Tutorial Scroll through Cue list + Bus DIR Move up/down through Cue list one cue at a time Next Cue/Last Cue Using the SpinKnob or DSC [+]/[–] keys, scroll through the Cue list to select available cue. Pressing the [Loc] key again will locate the MMC device or VTM to the selected cue point. When controlling an MMC tape transport, you will see the timecode in the screen display incrementing or decrementing as it is locating.
Section 4: Tutorial Regardless of the method you use, when the desired number is displayed in the SmartDisplay, press the QWERTY keyboard [Enter] key or the DSC [Esc] key. Assigning Custom Cue Names From the top-level Cue List menu, select the cue to edit using the SpinKnob. The selected cue is highlighted in blue. Press the [F1] key on the QWERTY keyboard or press [F4] (Edit) from the Cue List menu.
Section 4: Tutorial The RollBack function enables the user to locate the MMC device or VTM a predetermined amount before the current position. This predetermined amount is set in the RollBack menu. PreRoll is a timecode value that is applied to any Locate, Cycle or RollBack.
Section 4: Tutorial displayed in the timecode window of the Status Bar. If none of these timecode locations coincides with your desired start or end points, input a timecode value from the numeric keypad and press [Enter]. Locating To Start (LTS) Function With LTS (Locate To Start) enabled, pressing the [Cycle] key will locate the MMC device or the VTM to the Cycle Start point and start/continue to cycle.
Section 5: The Patchbay 5 THE PATCHBAY EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual 5-1
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Section 5: The Patchbay SECTION 5 : THE PATCHBAY T he standard Euphonix patchbay is made up of fully connectorized patch units. Each unit contains two rows of 48 jacks with the upper row halfnormalled to the lower row, and takes up 1 unit of 19” rack space (1.75” [44mm] high). These units are manufactured to Euphonix specifications and contain high-quality TT (Bantam) jack sockets. There is one patchbay unit for each I/O control module in the Mix Controller (i.e.
Section 5: The Patchbay Half-Normalling Both the Channel and the Master patch unit are half-normalled. This means that the upper jacks which carry the output are internally wired (normalled) down to the lower jacks which always accept an input. If you plug a patch cable into an upper jack, you will be able to take a parallel (mult) feed from that output and send it somewhere else without breaking the connection to the lower jack input. Simply plug the second end of the cable into a lower level patch jack.
Section 5: The Patchbay The easiest way to navigate to the appropriate jack when you look at the patchbay is by understanding the patchbay’s basic organization from the perspective of system modularity. The Euphonix patchbay system is designed for convenient expansion when adding more channels of audio to the console. The Euphonix Patchbay System As already mentioned, one Audio Tower can accommodate up to 28 channels (56 faders).
Section 5: The Patchbay The Channel patchbay has a specific input/output organization. Note that all of the inputs are on the left half of the patchbay and all of the outputs are on the right half. Next notice that all of the channel inputs and outputs are colorcoded. When all of the channel patchbays are stacked together, a noticeable pattern appears. All of the inputs and outputs are grouped in colored columns down the patchbay stack.
Section 5: The Patchbay In addition to the 90-pin connector for the snake that connects to the Audio Tower, there are six 38-pin Elcos on the rear of a channel patch unit (diagram below). These are used to wire studio equipment into and out of the patch unit. Every Channel patch unit is identical except for the labels, which reflect the different channel numbers. The unit shown below is labeled for inputs and outputs of channels 1-4.
5-8 L4 M2 3 M1 M2 2 M2 M1 1 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 4 L3 L4 3 L3 L4 2 L3 L4 1 L3 L2 4 L1 L2 3 L1 M1 4 8 7 6 5 4 3 2 1 If you need a stereo insert point, simply use any two of the Out/Line pairs. For example, if you were sourcing stereo linked M1 and M2 on the lower fader, send M1 and M2 to that channel’s Out1 and Out2 instead, which should be feeding the stereo processor.
Section 5: The Patchbay Multitrack returns are generally normalled across the console to either Mic Input 2 (M2) or Line Input 4 (L4) since M2 and L4 have bus/tape switching. The M2 inputs offer input gain trim and phase reverse for each tape return. These functions are also selectively available for each L4 input if the signal is routed through the combiner into the M1 input of that channel.
Section 5: The Patchbay Normalling the Audio CUBE • “1-per-channel” Audio CUBE System: The inputs to the Audio CUBE (up to 48) are normalled from the Dir1/Dir2 connector. Only the Dir1 pins are populated. • “2-per-channel” Audio CUBE System: The inputs to the Audio CUBE (up to 48) are normalled from the Dir1/Dir2 connector. Both the Dir1 and Dir2 pins are populated. Some systems (depending on the number of channels) are a combination of 1per-channel and 2-per-channel cabling.
Section 5: The Patchbay There is one Master patch unit per console, and it carries all the main inputs and outputs from the Master Audio Module. As with the Channel patch unit it has two rows of 48 jacks and is connected to the Audio Tower via one 90-pin Elco snake. All the inputs and outputs to the external studio equipment are connected to the unit through 38-pin Elco connectors.
Section 5: The Patchbay 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 MULT B TB IN (Ins Rtn) L (C) R (Ins Rtn) L (C) R L (C) R 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 4 3 Ext 1 In L (B) R 2 (A) R 1 (A) L 5 5 - 12 Ext 2 In L (B) R 9 8 7 MULT A A1 A2 AUX BUS OUT A3 A4 A5 A6 A7 These outputs can also be used as a simple 1
Section 5: The Patchbay Monitor Outputs Continued… If you select I/C in all three monitor menus you can select between three different monitors in the control room. Only one feed will be active at any one time. You also have the choice of sending the AFL/PFL signal to any combination of the three monitors.
Section 5: The Patchbay Tie-Line Patch Unit Tie-line patchbays supplied by Euphonix can be un-normalled, half-normalled, fully-normalled, or 1/2-half-normalled, depending on the application. They are used for support of ES108A Dynamics and Audio CUBE patchbay needs, and may also be purchased by studios that wish to expand their patchbay systems with high-quality Euphonix-style patchbays. On the rear of each tie-line patchbay, there are eight 38-pin Elco connectors.
Section 6: Moving Faders 6 MOVING FADERS EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual 6-1
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Section 6: Moving Faders SECTION 6 : MOVING FADERS Moving Faders (DSC) Grp Grp i d t i d t i d t i d t Safe Safe Solo Solo On On ATO W in W out MBR Move Rec Glide Manual Fader Punch Manual Mute Punch A ny channel’s fader, mute, solo, and punch are accessible from the DSC’s two assignable moving faders. These faders are automatically assigned to the currently selected fader block.
Section 6: Moving Faders Let's get familiar with the Moving Fader SmartDisplay menus.
Motors ON/OFF Section 6: Moving Faders With Mix off, traditionally the null lights are used to indicate a difference between the physical position of the fader and the level of the DCA. However, with our moving fader system, the fader’s position always represents the true level of the DCA as long as Motors are set ON. With Motors set OFF, the null lights operate identically to those in a standard non-moving fader system.
Section 6: Moving Faders Touch:OFF F1 Release:OFF F2 F3 F4 Pressing [F2] toggles the Touch option ON/OFF. Setting the Touch option OFF disables touch punch-in for all faders while still allowing manual punch-in, protecting your mix from inadvertent punch-ins. The Release option affects what happens when you release the fader. It allows you to globally configure all faders to either stop writing (punch-out) or continue writing fader automation data when you take your finger off the fader cap.
First Punch Manual Section 6: Moving Faders One of the most useful Euphonix Moving Fader system features is known as First Punch Manual. Previously, other moving fader automation systems put all motorized faders into touch punch-in (write-ready) mode, as soon as the mix system is turned on. While there is some convenience to allowing automation data to be written with the first touch of the fader cap, it also opens up the possibility of accidental punch-in.
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Section 7: Automation 7 AUTOMATION EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual 7-1
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Section 7: Automation SECTION 7 : AUTOMATION Overview T he CS3000/2000’s Auto Dynamic™ automation provides a powerful advantage over other console systems, eliminating the requirement of writing an automation data “first pass” through the entire length of your mix. For example, when you are ready to automate a fader, you simply adjust it to the desired audio level, punch the fader into record, make your moves, then punch out.
Section 7: Automation SIDE NOTE: Mix Region Your mix should not extend past 23:00:00.00. The timecode region from 23:00:00.00 to 23:59:59.29 is used as a sort of rewind overshoot buffer. This is so that if the timecode source rewinds just beyond 00:00:00.00, the system will not think it’s at the far end of the mix. This protects such features as Write In & Write Out from misinterpreting the overshoot.
Section 7: Automation The Mix Snapshot Creating a new mix also creates a “Mix SnapShot”. Before creating a new mix it is best to establish a rough balance so that when the Mix SnapShot is taken it represents a starting point for the mix. The Mix SnapShot is separate from the 50 console snapshots and is only used by the mix. Creating a New Mix When you have a title loaded and have established a basic, manual mix, create a new mix file.
Section 7: Automation When the Mix menu in the screen display is active (blue header), pressing the QWERTY keyboard [Tab] key will put the cursor into the Mix Comments field. You can now type in comments about the currently selected mix (highlighted in the mix list).
Section 7: Automation Introduction to the Automation Template Since this is a new mix, there is no actual automation data yet. The first time you punch in a console object, it is put into Dynamic mode and will appear red in the Automation template. At that point, the object is under automation control even when not in Pass Record mode (Pass Ctrl key light off). Any adjustments to the object must be written as automation moves.
Section 7: Automation DSC Dedicated Automation Keys A Input M1 M2 L1 L2 L3 L4 M1 M2 L1 L2 L3 L4 EQ•Dyn 1 L BUS PAN BAL ovld A1 A3 A5 A7 A2 A4 A6 A8 2 R BUS DIR ST1 ST2 PAN BAL ovld BUS A1 A3 A5 A7 A2 A4 A6 A8 4 B 2 C M1 M2 L1 L2 L3 L4 At the bottom of the DSC, are the Dedicated Automation keys. This is the main control area for the automation system. The Dedicated Automation keys and their functions are listed below.
Section 7: Automation Switching Automation On There are two possible automation modes; ABSolute and Trim. The first mode we will work with is ABS. In this mode the absolute position of the fader or control is recorded and any moves up or down are recorded as absolute level changes. Press the DSC [Mix On] key above the SmartDisplay. Observe that the grey Mix Off indicator in the screen display status bar turns green and says Mix On.
Section 7: Automation Recording Moves At this point “Mix On” and “Punch” are lit, you have selected an object to punch in (select fader for our example), and you’ve established your timecode source. Play your tape, workstation, sequencer, etc... (whatever you’re using as a timecode source). The [Pass Rec] key (next to Mix On) will light when play speed timecode is received. Your Automation system is now armed. Fader Moves Now press channel 16’s lower fader block key to record.
Section 7: Automation Pass Control The Pass Control screen is one of the most useful tools in the Euphonix Mix System. To access this screen, press the [Pass Ctrl] key next to the Pass Rec key. Screen Anatomy The Pass Control screen shows the pass tree, cue points, automated snapshot events, aux moves, EQ, pan moves, fader moves and mutes.
Section 7: Automation UF and LF (Faders) When you punch in on a fader, the move will be displayed in real-time in the form of a white line along a time line. When the pass is completed and you punch out, the white line changes to yellow. When you punch-in on a previously automated fader, the current fader position is drawn in white while the previous fader move is now drawn in yellow.
Section 7: Automation View menu To vary certain viewing parameters of the Pass Control screen, press [F3] (View): Pass 1 Undo? Redo? View Join Group Trim F1 F2 F3 F4 F1 F2 F3 F4 Clr? Pack? Edit Util Zoom Full Show ZFac F1 F2 F3 F4 F1 F2 F3 F4 View Scale [F1] (Zoom) sets the VIEWSCALE. The screen can show the entire mix from head to tail or zoom in on a narrow region of the mix. Head ->Tail mode can be seen previously.
Section 7: Automation From the Pass Control Screen Setup menu, press [F3] (Show): Zoom F1 Set:EQ1 F1 Full Show F2 F3 ZFac F4 LG / lG / hG / HG F2 F3 F4 In this menu, each row can be configured individually or all four rows can be configured simultaneously by recalling “Sets”. In Set mode (Set:EQ1 in our example), [F3]/[F4], the [+]/[–] keys and the SpinKnob select the set for the four rows. Remember, a “Set” is a preset that configures all four rows.
Section 7: Automation For example, in the diagram below we see a pass with a fader move recorded: Now with Trim lit, we will punch in and trim the move by moving the fader down the desired amount and then punch out. Current time pointer punched in trim Fader position during trim amount of fader movement Punch out punched out trim amount of trim When the pass is complete the screen will update the fader graph to show the trimmed level.
Section 7: Automation The three functions are defined as follows: WIn: The object’s current position at punch-out is written back to the mix start. WOut: The object’s current position at punch-out is written out to the mix end. WThru: The object’s current position at punch-out is written from mix start to end. ABS WIn Mode SIDE NOTE: The dB value of a fader in Abs write mode now appears below the UF or LF number in the Pass Control screen thus allowing for very accurate automation moves.
Section 7: Automation ABS WThr Mode WThr is used when you wish to write a single position entirely through the mix. In this mode it is possible to erase all other moves so use it with care. If this happens it is possible to undo to the previous pass but do be careful. Punch in the fader and find the correct level then punch out. The level at punch-out will be written all the way through the mix as a single static level.
Section 7: Automation Press [F3] (Tplt) to view the Punch menu and screen template: Punch -> F1 Select F2 objects F3 F4 The Punch template screen allows you to select any combination of mute, fader, pan, EQ1, EQ2, Aux A, B, C, or D objects on any channel(s). All armed objects can then be punched-in by pressing the [*ST] key. While the punch template is visible, the [All lower], [All upper] and [All aux] keys operate to arm/disarm their respective Mix Controller object blocks.
Section 7: Automation Press [F3] (Win/Wout) to configure the Win/Wout feature: Clear Win/Wout? F1 F2 [No] F3 F4 With Clear Win/Wout active, WriteIn/WriteOut/WriteThru is automatically turned off after each automation pass. This can help prevent unintentional write-over of automation data. Monitor Before Record (MBR) MixView’s Monitor Before Record (MBR) automation feature allows you to preview automation changes before you commit the altered moves to an automation pass.
Section 7: Automation Moving Fader If the Motors menu option is set On, Moving Faders caps will start to follow the fader’s automation data. Non-motorized fader For non-motorized faders, the null LEDs will begin to indicate relative fader levels. Engaging MBR mode SIDE NOTE: Remember that MBR mode is only relevant if the fader contains previously recorded automation data. Without automation, the first press of the fader’s punch (attention) key will drop that fader immediately into automation record.
Section 7: Automation Set Mode Set mode can be activated on individual objects and is shown in green on the template. The first time you were introduced to the template, every object was in Set. This is because nothing had been punched in and you had manual control over every object. Set mode is also referred to as “manual mode”. You can adjust settings manually and their position will be saved to the mix snapshot when the mix is saved.
Section 7: Automation Iso Safe Isolate-Safe is activated on an entire channel only and is shown in blue. A channel in Isolate-Safe remains isolated even after title/mix load. Dyn Safe Dynamic-Safe can be activated on individual objects and is shown in black on the template. Dyn-Safe protects previously recorded automation moves by not permitting the object to be punched in. Automation will play back but can’t be recorded.
Section 7: Automation Suppression Screen Suppressed blocks Automated EQ MixView software provides dynamic automation of EQ. EQ parameters can be individually punched-in via the DSC rotary controls or simultaneously all punched-in via the channel EQ•Dyn attention key. EQ Object key The EQ is considered an object like the Fader, On and Pan keys, etc. In v3.0 software, the D object key becomes the EQ object key (EQ/D) similar to the Fader/A, Pan/B and On/C keys.
Section 7: Automation Monitor Before Record (MBR) The Monitor Before Record (MBR) automation feature also applies to automated EQ (see the Automation Editing section ealier in this section for a discussion of MBR). EQ moves work only in ABSolute mode and the Win, Wout and Wthru applies to EQ. Automation Editing The Off-Line Editing system provides Cut, Copy, Insert, Overwrite, Fill, Gap, Repeat, Bounce & Distribute functions.
Section 7: Automation OVR (OVERWRITE): This operation accompanies a Copy operation. Existing data is overwritten (no time is inserted) by the contents of the copy buffer beginning at the Start point. During an Overwrite operation, the End point is ignored and the Length of the Overwrite is equal to the size of the copy buffer contents. Automation data will Overwrite only into the block it was copied from. You can not for example Overwrite data from lower fader 12 into upper fader 23.
Section 7: Automation Edit Template Press [F3] to view the template screen: Edit template color legend Here you will select the objects to be included in the edit operation by pressing the appropriate DSC Object key (Fader, Pan ,On etc.) and then pressing the appropriate block attention key. Selected desk objects turn green for individual objects, yellow for group master objects and blue when the selected object is both a group master and underlying individual object.
Section 7: Automation Using Cue/Locate points From the T/C menu press [F4] (Cue). Use the Numeric keypad, the [+]/[–] keys or the SpinKnob to select a cue number from the cue list and press [Enter]. Again, use [F1] to toggle between “Start” and “End”. For detailed information on the Locate/Cue system refer to the MMC section. On-The-Fly While in the T/C menu, toggle to “Start” and play the T/C source. At the desired point in the program, press [Enter] in the Numeric keypad to capture a timecode value.
Section 7: Automation Pass Join Pass Join provides the ability to merge segments of selected passes to form a custom pass. Each segment maintains its original time placement. Example You like the beginning of pass 8 but pass 5 is better for the scene change and pass 12 has the fade you like. You build the join list on the fly or off-line, defining the pass numbers and times of the transition. Your list will show that the mix will start with pass 8. At the scene change, you switched to pass 5.
Section 7: Automation Pass Join Event Entry Using the SpinKnob, position the yellow selection box to the pass you want to begin from and then press [Enter]. While in the top level Pass Control menu and screen, start timecode playing. Select a “TO” pass by moving the yellow cursor. At the desired time, press the [Enter] key to make the change. The yellow pass will be entered as a “TO” pass in the Pass Join list and change to green indicating it is now the current pass.
Section 7: Automation Join? Edit Tplt ON F1 F2 F3 F4 Join? Edit View F1 F2 F3 ON F4 Once the list is complete, the next step is to select the objects that will be included in a Join operation. This can include all objects on the console or only a select few. Objects are selected in the Pass Join template. From the Pass Join menu, press [F3] to see the template on the screen display: F3 toggles between the Template and the Join list.
Section 7: Automation Execute the Join Once the desired objects are included in the template, press [F1] to execute the join. A new pass is created in the pass tree branching from the first “FROM” pass in the join list. The pass created from our list on the previous page would be pass 13 and would branch from pass 8. Pass 8 first From pass in list Pass 13 created and branched from pass 8 Editing the Pass Join List After executing the Join, play the mix to audition it.
Section 7: Automation The example outlined in the section introduction was pretty basic. You can get quite creative with the Join operation however. Expanding on the example, imagine applying this join sequence to 4 faders only, and allow all other automated objects to follow a separate Base Pass throughout the mix. Pass 8 is the default Base Pass in the above example, however any other pass in the tree can be selected. Access the Base Pass the same way you edit list parameters, (see above).
Section 7: Automation Group Coalesce allows the Group Masters' automation to be written into its slaves as trim moves. Group Coalesce To access the Coalesce menu and screen, press the DSC [Pass Ctrl] key, [F4] (down arrows), [F4] (Util) and then [F3] (Group): Pass Ctrl Pass # Undo? Redo? F1 F2 F3 F4 Clr? Pack? Edit Util F1 F2 F3 F4 View Join Group Trim F1 F2 F3 F4 Yes [No] F3 F4 Coalesce? F1 F2 Use the template to select the groups you want to coalesce.
Section 7: Automation Press the DSC [Auto SS] key: Event Parameters The list displays information about each Automated SnapShot such as: • • • • • • The channel into which it will recall The channel snapshot number The MIDI preset number associated with the channel snapshot The mode that applies to each Automated SnapShot (RCL or OFF) The timecode where the recall event occurs The name of the channel snapshot Recording Automated SnapShots To record Automated SnapShots: Automated SnapShot Event List T
Section 7: Automation Add Events to the List SIDE NOTE: If you select a channel using the DSC’s 1-48 select keys and then open the channel select menu, (F3 in the 1st menu), your selection will be in brackets. Events can be added to the list from the SmartDisplay menu as well. From the top-level Auto SS menu, press [F3] ([G*]) to select the channel into which the SnapShot will recall. The selections are 1-N# channels, G*, and G1.G* will recall the snapshot into all channels and the Master section.
Section 7: Automation CHAN Parameter After selecting an event, press [F1] to edit that events channel number. Notice that the selected CHAN parameter is highlighted in red on the snapshot event list and the SmartDisplay reads: Change … [G*] to [G*] F1 F2 F3 F4 8 9 4 5 6 + Bus 1 2 3 DIR or [Enter] Channel/MIDI Preset Number 7 0 Enter * Del ST When you first record Automated SnapShots, G* appears in the CHAN column indicating that they are global.
Section 7: Automation Timecode Editing Select an event to edit as described at the top of the previous page. From the Event Edit menu, press [F3]: Event Edit Menu [G*] SS29 T/C F1 F2 F3 7 8 9 4 5 6 01: 03 : 23. 22 1 2 3 F1 F2
Section 7: Automation From the first Edit menu, press [F4] to toggle the selection: [G*] SS29 T/C RCL F1 F2 F3 F4 A third mode will be seen called REC.
Section 8: Grouping System & Fader Linking 8 GROUPING SYSTEM & FADER LINKING EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual 8-1
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Section 8: Grouping System & Fader Linking SECTION 8a : GROUPING SYSTEM G Overview rouping of any channel fader to any other channel fader is possible on the CS3000/2000. A 104-fader console can have up to 104 group masters. This is one of the many powerful features on the console. Exercise 1 In this exercise, we will create a group to demonstrate how the grouping system operates. Creating A Group To create new groups, Mix (automation) must be turned OFF.
Section 8: Grouping System & Fader Linking You will see four (4) amber segments light on the master fader’s channel meter block above the “7” mark. Once you have selected a master, the SmartDisplay automatically changes to show the Slave Select menu: Select Group Slaves Slave Select: F1 MSTR F2 F3 F4 At this point the next fader block key you press will assign that fader as a slave. Assign lower faders 22 & 23 as slaves.
Section 8: Grouping System & Fader Linking will give you gain or attenuation respectively. Fader mutes are also part of the groups function; when you mute the master fader, audio levels for the slaves mute too. The levels of the slave faders and their individual mute status can be changed independently at any time relative to the master. Set channel 16’s I/O Meter mode as shown here: 16CH-> Lvl->UF F1 F2 Lvl:LF F3 F4 You should see the meters track the slave fader levels.
Section 8: Grouping System & Fader Linking Building a group means simply connecting any fader to any other fader’s DCA Group Master Fader and calling it a Group Master. When doing this you have the option of includand Underlying ing the master fader’s own DCA into the group or not. The diagram below Audio Control depicts the group we constructed in Exercise 1.
Section 8: Grouping System & Fader Linking The diagram below represents faders in Independent mode. In Independent mode, lower fader 24’s DCA control comes to the surface and the group master goes “underneath”.
Section 8: Grouping System & Fader Linking attention key and you will now see lower fader 22 & 23 displayed as slaves as well as lower fader 24 as the master. Now if you press lower fader 24’s attention key again, you will include its DCA into the group as a slave.
Exercise 3 Section 8: Grouping System & Fader Linking In this exercise we will demonstrate how to create additional groups. From the Main menu, press [F4] (Grps) to view the Group Select menu. Creating More Groups Group Select: F1 F2 ON MSTR F3 F4 Existing Groups Display When you enter the Group Select menu, the channel meters display only the group masters. Any faders that have been designated as group masters will have two amber LED bars on the meters above the 7 mark.
Section 8: Grouping System & Fader Linking The channel metering now looks like this: Red “unavailable” LEDs denote faders in the other group.
Fast Access to Group Control 1. Entering Limited Group mode doesn’t interrupt meters from tracking audio. 2. Group Master options are available from this menu while automation is running (when [Mix On] is lit). 3. It allows two basic group operations. You can turn groups on or off and toggle MSTR/IND modes. Groups cannot be edited from this menu.
Section 8: Grouping System & Fader Linking To delete all groups, press the DSC [Clr] key above the SpinKnob while in the Delete All Groups Group Select menu. Do not select a group master before you press [Clr]. You will be prompted for confirmation: Sure? F1 F2 Yes [No] F3 F4 Pressing [F3] will delete all groups. [F4] will abort this maneuver. Storage & Recall of Group Data Group setups and levels are currently stored with each mix.
Section 8: Grouping System & Fader Linking is a non-destructive solo; the main stereo and multitrack buses are unaffected and the monitor speakers (if selected via solo assign) are fed from the stereo AFL bus. The master AFL level is controlled from a knob in the Solo block. You can deselect slaves from the group solo by hitting their AFL keys once you have soloed the group master.
Section 8: Grouping System & Fader Linking SECTION 8b : FADER LINKING F ader Linking allows any Group Master Fader or mute to internally control any automatable parameter within the console. Controllable objects include everything on the MIDI Remote Control, “able to receive control data” list. This feature provides a preliminary Cube automation solution. Full Cube automation will come in a software version following 3.0. Overview *No release date/number has been assigned to the next version as of yet.
Section 8: Grouping System & Fader Linking The DSC [left arrow] and [right arrow] keys are used to navigate horizontally from column to column. Column values can be changed or entered using the SpinKnob, [+]/[–] keys or directly with the DSC Numeric keys. Pressing [F3] and [F4] sequences the controller assignments.
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Section 9: Dynamics 9 DYNAMICS EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual 9-1
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Section 9: Dynamics SECTION 9 : DYNAMICS A s an option, all Euphonix systems can be outfitted with digitally con trolled analog dynamics. A single chassis contains 8 processors, each of which includes a pair of digitally controlled filters. From 8 to 120 dynamics processors may be added to any Euphonix console, up to two per channel, and can be assigned to the upper or lower fader, pre- or post-EQ. The dynamics processors may also be inserted in the mix buses.
Section 9: Dynamics gate and compressor, or expander and filters. Complete control over dynamics parameters include all standard controls such as attack, release, ratio, hold time and compressor threshold characteristic. Inverse compression (shown as a ratio with minus sign; where the dynamic range of the output is less than the input, but the output level decreases as the input level increases) is also possible.
Section 9: Dynamics The ES108A Front Panel ES108 A 2 4 6 9 12 15 21 30 2 4 6 9 12 15 21 30 MIDI Key Mon 2 4 6 9 12 15 21 30 MIDI Key Mon 2 4 6 9 12 15 21 30 MIDI Key Mon 2 4 6 9 12 15 21 30 MIDI Key 2 4 6 9 12 15 21 30 MIDI Mon Key 2 4 6 9 12 15 21 30 MIDI Mon Key Mon 2 4 6 9 12 15 21 30 MIDI Key Mon MIDI Key Mon Dynamic Range Processor/Emulator The Top button in the middle of the panel cycles through the following Meter Display modes: ES108A Front Panel Metering Left Met
Section 9: Dynamics The ES108A Processor Display A flashing dot indicates active channel (last processor brought to attention in the SmartDisplay and currently outputting metering data) 2 green segments in the meter display area indicate processor bypass 2 4 6 9 12 15 21 30 Shows number of console channel to which processor is assigned MIDI Key Mon Clip LED - indicates when soft clip circuit threshold is being exceeded.
Section 9: Dynamics The ES108A Rear Panel I 0 Ch 1-8 OUTPUT 120 IN VOLTS AMPS FUSE 100/120 1.0 2A 0.5 220/240 1A 50-60Hz 110 WATTS USE SLO-BLO FUSE IN Ch 1-8 INPUT Ch 1-8 EXT KEY OUT/THRU OUT METER Made in U.S.A. MIDI NOTE: The Output and Ext Key input Elcos have changed locations on the back panel with the release of the ES108A. Please note this if installing an ES108A in a rack of ES108s.
Section 9: Dynamics Important Technical Information Please Read Before Installing Your ES108A Each ES108A unit is configured at the factory to operate as specific channel numbers within an installation of multiple units. To re-configure the ES108A's channel range, remove the front panel as shown below and reset the DIP switch, located on the Host Processor board, to the proper position. See illustration below. Note: If you are installing only one ES108A unit, the DIP switch should be set for channels 1-8.
Euphonix CS3000/2000 Operation Manual Main Input Key Input Main Input Input Level Filters Filter Path = Sidechain Filters Out Filters In = Analog Audio Path = Digital Control Filter Path = Main Out Filters In Note: The SC Source control should be set to Main.
Section 9: Dynamics 1 MAIN INPUT CHAN N UNBAL OUT 2 3 TO MAIN INPUT BUS CV LINK OUTPUT CV LINK INPUT MAIN INPUT BUS ______________ CHAN 1 CHAN 2 CHAN 3 CHAN 4 CHAN 5 CHAN 6 CHAN 7 CHAN 8 3 2 EXTERNAL KEY INPUT 1 DET LINK INPUT DET LINK OUTPUT DC REF INPUT 0dB 0dB MAIN INPUT SELECTOR LPF MAIN KEY CONTROL SOURCE GAIN SWITCH -6/0/+6/+12dB GAIN SWITCH -6/0/+6/+12dB A FILTER #2 IN OUT FILTERS C MAIN SIDECHAIN VCA SOURCE ABS VALUE A B METER SELECT TAKE MAX ON VCA TEMP. COMP.
Section 9: Dynamics Dynamics Software Setup Before you can insert dynamics into a signal path, the console needs to know how the processors have been wired. For example, maybe your studio has only one ES108A (8 processors) and these are normalled into channels 1-8 on the console. If you want to use the 8th processor in channel 15, you can cross patch it from channel 8 at the patchbay (or repin connectors if you want to change the normal configuration of your studio).
Section 9: Dynamics Pg 1 Pg 2 EQ Dyn To assign the dynamics (i.e., to tell the console where each processor is patched or normalled), first press the [Dyn]amics mode key on the DSC.
Section 9: Dynamics Dynamics Configuration/Assignment Window Details To access this Window/Menu: 1. Press DSC [Dyn] key 2. Press SmartDisplay [F2] (down arrows) key 3.
Section 9: Dynamics Auto Assign 1 Dynamics You can globally assign one dynamics processor per channel strip, which will appear as Dyn 1 in each console channel. From the Dynamics Assign menu, per Channel press [F2] (1/Ch): Dynamics Assign Menu Clear 1/Ch 2/Ch Patch F1 F2 F3 F4 Assign 1/Ch ? Yes [No] F1 F2 F3 F4 Push [F3] (Yes) to confirm and you should see the front displays of all of the ES108As blink in succession and display their new console channel assignments.
Section 9: Dynamics Auto Assign 2 Dynamics You can globally assign two dynamics processors per channel strip, which will appear as Dyn1 and Dyn2 on the console. From the Dynamics Assign menu, per Channel press [F3] (2/Ch): Dynamics Assign Menu Clear 1/Ch 2/Ch Patch F1 F2 F3 F4 Assign 2/Ch ? Yes [No] F1 F2 F3 F4 Press [F3] (Yes) to confirm, and you should see the front displays of all of the ES108As blink in succession and display their new console channel assignments.
Section 9: Dynamics The 1/Channel and 2/Channel dynamics assignment menu selections automatically clear all dynamics assignments when they are selected, so the additional step of clearing dynamics assignments before choosing these macros is unnecessary. Assigning Individual Dynamics Processors Use the Patch menu when you need to tell the console that you have crosspatched processors at the patchbay, and when you want to custom configure your dynamics processors across the console.
Section 9: Dynamics For example, let's say that you want to assign all of the dynamics processors 1 per channel, except that you want to free up a pair of processors to insert on the Stereo 1 bus. From the SmartDisplay, globally assign all of your dynamics processors 1 per channel. Then find the EQ•Dyn(1) and EQ•Dyn(2) keys on the desk for the last pair of assigned processors.
Section 9: Dynamics After assigning dynamics one per channel, try the following assignment to the Stereo 1 bus.
Section 9: Dynamics Next, press the [*ST] key on the Numeric keypad to stereo link the processor selected with the next processor up (the processor to the right in the same ES108A). 2 4 6 9 12 15 21 30 * F1 Stereo Link key MIDI Key * 1D1 ST Mon Link Arrow F2 Comp On -> >- F3 F4 The -> symbol next to the dynamics channel should change to an asterisk (*) in the SmartDisplay, indicating that you have linked this channel with its upper neighbor.
Section 9: Dynamics Assign dynamics 1/channel. Assume there are only 8 processors fitted and normalled into channels 1-8. Imagine you want to take the 8th processor and use it in channel 15. Crosspatch the processor from channel 8 to channel 15. If the ES108As have been wired as suggested for 1-per-channel operation, then the input (send) of the 8th processor should be the jack under OUT1 on patchbay channel 8. Patch into this from the bottom OUT1 jack on channel 15.
Section 9: Dynamics To save assignments simply save the title. When you reload the title, your dynamics assignments will recall just as snapshots and mixes do. Saving Dynamics Assignments Inserting the Dynamics As mentioned earlier a single dynamics per channel should be wired between OUT1 and L1. If a second processor is available per channel, wire this between in the Signal Path OUT2 and L2.
Section 9: Dynamics Stereo Dynamics Insert If two dynamics are available then they can be configured as one per fader (upper and lower) or a single stereo dynamics unit on either fader. Set up a stereo signal path: STEREO 1 BUS L R PWR M1 Stereo Links M2 BAL PWR LF Now put a stereo EQ on this path by sourcing EQ1 from M1 and EQ2 from M2.
Section 9: Dynamics To place the dynamics before the EQ, assign EQ•Dyn(1) to L1 and EQ•Dyn(2) to L2 and the EQ is moved after the dynamics processors: STEREO 1 BUS L R M1 OUT1 PWR DYN Stereo Links M2 PWR EQ1 DYN 1 4 Band EQ L1 BAL OUT2 DYN DYN 2 LF 4 Band EQ L2 EQ2 Dynamics inserted pre-EQ Note that the dynamics are not linked until you hit the ST* key, explained earlier in “Linking Dynamics Processors”.
Section 9: Dynamics Adjusting the Dynamics Once the processors are assigned and configured, we can adjust dynamics settings while listening to the effect on the audio signal: & Filters Press the DSC [Dyn] key: Pg 1 Pg 2 Pg 3 EQ Dyn Aux Pg 4 Pan Assign Lit LED shows that a dynamics processor is present and in circuit (NOT bypassed) EQ•Dyn 1 L Now hit the appropriate [EQ•Dyn] attention key in the channel lower fader block to access dynamics parameter adjustments Like EQ indication, an unlit LED in
Section 9: Dynamics Dynamics Screen The screen display shows how the audio of the current channel is affected by the dynamics processor, as well as the current parameter settings. Indicates Dynamics Processor 1 or 2 and selected mode of processor GainBall™ illustrates current gain/time constant settings Input and Output Meters show signal level into and out of the processor Top of graph shows Comp Makeup (0.0dB) Indicates Gain Reduction Horizontal line shows gate depth.
Section 9: Dynamics GainCurve, GainBall and The GainCurveTM illustrates the relationship between gain reduction and side chain level. The side chain signal (which is not necessarily the input signal) the Side-Chain always triggers the operation of the dynamic gain element. While it is common for the side chain to be fed directly by the input, this is not always the case. Because of external keying and filtering options, the side chain signal must be considered as a separate, independent signal.
Section 9: Dynamics The same principle applies to gate attack times. The GainBall shows how much attack has been set. The faster the attack, the closer the GainBall hugs the curve as the input (side-chain) level increases. This is a unique and effective way of showing what the dynamics are doing to the signal. It only takes a couple of seconds to understand how this works; the best way is to put a signal through the unit and adjust the parameters while you listen to the audio.
Section 9: Dynamics Gate Hold Time Gate Hold Time can be adjusted. The GainBall shows this by staying in the horizontal with no gain reduction when the input level passes below the gate threshold. As soon as the specified amount of time has passed, the gate starts to reduce gain and the GainBall falls at the rate determined by the gate release. When the curve is more than 45° it shows inverse compression.
Section 9: Dynamics In stereo linked operation, the input and output meters double up, left above right. When more than two channels are linked, the top meter corresponds to the current channel selected and the bottom meter corresponds to the channel to its right. Input/Output Meters A red dot will light to the right of the output level meter when the Soft Clip circuit threshold is crossed. Gain Reduction Meter The GainBall and RMS vs.
Section 9: Dynamics Adjusting Dynamics Dynamics operation from the DSC is very intuitive. The rotary controls map up to the knobs on the screen which show each knob's position, function and parameter value. Turning the knob makes the virtual knob move at the same time.
Section 9: Dynamics Pressing the Page 2 key at the bottom of the Assignable Rotary Controls will bring up the second page (or screen) for dynamics adjustment. This screen includes controls to change filter parameters, switching options such as Side Chain Listen and Side Chain Source, and controls for the Peak Stop circuit.
Section 9: Dynamics Accessing Dynamics Parameters with the Numeric Keypad As with adjustment of the EQs, the dynamics can be adjusted by selecting the parameter from the Numeric keypad and then adjusting the value with the SpinKnob or the DSC [+]/[–] keys (the Dynamics Access menu must be showing in the SmartDisplay). For some functions the Numeric keypad key will toggle the value (e.g., you can toggle between Page 1 and Page 2 of the dynamics screen with the [+]/[–] keys).
Section 9: Dynamics Try scrolling through the available values for Gate Depth using both the SpinKnob and the DSC [+]/[–] keys. You can select any of the other parameters on the screen and adjust them in the same way, selecting first with the keypad and then using the SpinKnob or [+]/[–] keys to nudge values up and down.
Section 9: Dynamics Page 1 Numeric Keypad Below is the DSC Numeric keypad mapping for compressor and gate paramSelect Compressor/Gate eters and the available range for each parameter. Note that the available range of some parameters is sometimes dependent on where other parameters are set (e.g., the range of possible values for Compression Knee can be affected by the Threshold setting).
Section 9: Dynamics Page 2 Numeric Keypad Select Filters Peak Stop 7 Side Chain Source Main/Key HF Type LP/BP/HP/Notch 4 5 6 1 2 3 Filter Path Main/SC HF Frequency LF Type LP/BP/HP/Notch 0 Enter Del 1 2 3 4 5 6 7 8 9 L1 L2 L3 L4 +/– 9 Side Chain Listen Yes/No 0 Page 2 Parameters Keypad # Parameter 8 Enter Del LF Frequency Input Level (Main Input and Side Chain) -6/0/6/12 dB Options or value range LF Filter Type Low Pass, Band Pass, High Pass, Notch LF Filter Frequency 10.3 Hz to 2.
Section 9: Dynamics Each dynamics processor has an external key input accessed from the External Key Elco connector on the rear panel of the ES108A. Music and Post system packages include a patch unit which accommodates these key inputs, but the studio you work in may or may not have these inputs wired to the patchbay.
Section 9: Dynamics Filters Each dynamics processor contains two high-quality digitally controlled analog filters accessed from Page 2. Select the dynamics and then go to the Page 2 screen by pressing the DSC [Pg 2] key or toggling the [+]/[–] keys. The Side Chain Source.
Section 9: Dynamics Filter Types There are two filters available. Each filter can be switched to act as a low pass, high pass, band pass or notch. For the low and high pass, the slope is 12dB per octave. The bandpass and notch filters have a Q of 0.7. This can be doubled by stacking the two filters together and making them both notch or band pass with the same center frequency. This increases the combined Q to 1.4.
Section 9: Dynamics Dynamics Factory Presets (Modes) The Dynamics Factory Preset Library and menu are similar to the Snapshot list and menu. The first factory preset is the default mode for the processors (Gate/Comp). You can recall factory settings and put individual ES108A processors in different modes, and store the settings into your console snapshots.
Section 9: Dynamics Dynamics Factory Presets: Expander Mode 9 - 40 There are six ES108A processor modes currently available from the Factory Presets list. The first processor mode, as mentioned, is the default Gate/ Compressor with Filters pre-dynamics. The second mode (Factory Preset #2) is for Expander/Compressor with Filters pre-dynamics.
Section 9: Dynamics Dynamics Factory Presets: Peak Limiter Mode The third dynamics processor mode (Factory Preset #3) is for the Peak Limiter only. Because it uses a peak (rather than rms) detector, this mode provides faster attack capability than the Compressor/Gate mode.
Section 9: Dynamics Dynamics Factory Presets: Gate and Auto Comp Mode 9 - 42 The fourth dynamics processor mode (Factory Preset #4) is for the Gate/Auto Compensate-compress with Filters pre-dynamics. The Auto Compensate function automatically maintains the nominal output level as compression ratio and threshold are adjusted. The Rotate Point control sets this consistent output level in dB.
Section 9: Dynamics Dynamics Factory Presets: Ducker Mode The fifth dynamics processor mode (Factory Preset #5) is for the Ducker. This mode provides access to the side chain filters for optimizing the triggering of the ducker function.
Section 9: Dynamics Dynamics Factory Presets: Filters Only Mode The sixth dynamics processor mode (Factory Preset #6) is for Filters only. In this mode, the VCA is out of circuit to provide the most transparent (besides filtering effects) audio path. Dynamics Factory Presets: Dynamic Notch/ De-esser Mode In this mode, the VCA is used along with a summing circuit to subtract a variable amount of band-pass filtered signal from the dry input signal.
Section 9: Dynamics MixView Display When Dynamic Notch mode is selected, MixView uses a new type of graphic to illustrate the signal processing activity. Instead of graphing the gain curve (gain vs. detector level) as in the other dynamics modes, MixView shows a frequency response curve–more like the EQ graphic. However, the frequency response curve changes dynamically as the depth of the notch filter varies.
Section 9: Dynamics For best “de-essing” results, try setting this parameter in the range 5kHz - 10kHz. Depth: Maximum depth of the notch (0dB to 24dB, in 1dB steps). Threshold: The detector level above which the notch starts to kick in. There is a gradual knee, so the notch actually kicks in a few dB below the threshold. Sensitivity: How quickly the notch kicks in around the threshold point. Sort of like a combined knee and ratio control. Three choices: Low, Med, High. Attack and Release time constants.
Section 9: Dynamics The Dynamics User Preset Library is saved with system information. This is a store of 100 user-programmable dynamics settings and are available from every project and title. Note that dynamics settings are stored in SnapShots just as other console settings like EQs, routing, etc. The Preset Library is useful for storing settings that you frequently use.
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Section 10: The Audio Cube 10 THE AUDIO CUBE EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual 10 - 1
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Section 10: The Audio Cube SECTION 10 : THE AUDIO CUBE A n important option available for the Euphonix console is the Audio Cube System. The Audio Cube is a digitally controlled level/routing matrix which allows the addition of multi-format buses to any Euphonix console; multitrack buses, auxiliary send buses, and film panning buses can be made available from any fader.
Section 10: The Audio Cube Once the Hyper-Surround panners are configured, the are accessed by pressing the DSC [Pan Assign] key. While in the Pan menu and screen, calling attention to any fader block will access the panners available to that fader. Hyper-Surround Panning DSC Screen Display Active panner meters & position Bus Master level display for 5.
Section 10: The Audio Cube The Audio Cube System is comprised of four (4) major components: the chassis, the power supply, the Quad Bus Cards (QBCs) and the interconnections which include patchbays and cabling.
Section 10: The Audio Cube Interconnections Supplied cabling connects the DIRs of the channel patchbays to the Cube inputs and the Cube outputs to a dedicated patchbay. The output patchbay provides connections for the Cube’s bus insert sends/ returns and bus outputs. A single 96 point patchbay will accommodate up to 24 Cube output buses. If a system is equipped with more that 24 output buses, two tie-line patchbays are supplied.
Section 10: The Audio Cube To view the Cube Input Assignment Templates, press the [Bus Master] DSC key: View the Template Bus 1 -> F1 OFF F2 F3 F4 I/O Bus Assign F1 F2 F3 Standard Press [F1] (Standard): F1 F4 Special F2 F3 F4 Sys: F 56 [Yes] F1 F2 F3 F4 Use [F2] to select the system type and [F3] to select the system size. Then press [F4] to confirm.
Section 10: The Audio Cube M-40 Cube Input Assignment Template Above is a 40 faders, M-40 system. The Cube has 48 inputs leaving 8 Cube inputs for future console expansion. F-32 Cube Input Assignment Template Above is a 32 fader F-32 film system. The Cube inputs are “short loaded” to 32 in this system, instead of the usual 48. This is because typically, F systems send only lower fader signals to the cube via the consoles DIR 1 output.
Section 10: The Audio Cube Lowers Only - This mode assigns Cube inputs to the Mix Controller’s lower faders only. If there are fewer lower faders than Cube inputs, the remaining Cube inputs are not assigned. Uppers Only - This mode assigns Cube inputs to the Mix Controller’s upper faders only. If there are fewer upper faders than Cube inputs, the remaining Cube inputs are not assigned. Wrapped [n] - Cube inputs are assigned to lower faders up to the channel number in brackets.
Section 10: The Audio Cube [Automatic] - Assures that all lower faders have Cube inputs. This mode is similar to L/U [n] except that it automatically enters the total number lower faders in the console as [n]. Executing [Automatic] on the console in the above example would look like this: Direct Outputs The next stage of system configuration is setting the channel DIR assignments. Every Cube input must receive a post fader feed from the console.
Section 10: The Audio Cube Selectable on-screen metering is available for every Cube bus. Meters can be switched to read the Bus Out (pre-master control & insert send), Master In (insert return), and Master Out. To select the Meter Source menu: Cube Metering I/O Bus Assign F1 F2 F3 Meters F4 Diags F1 F2 Meters-> Bus Min Mout F1 F2 F3 F4 F3 F4 Press [F2], [F3] or [F4] to select a metering point. The meters appear in the Aux, Aux Bus Master and Pan Bus Master screens next to each knob.
Section 10: The Audio Cube Operational Configuration Operational configurations are often done on a session by session basis. It is easy to reenter these menus and reconfigure aspects of the system as your needs demand. Define Bus Types The first step in Operational Configuration is to define the bus types as to their function. Buses are defined as “Aux” for use as Cube aux sends and “Pan” for use in building Hyper Surround™ Panners.
Exercise 1 Section 10: The Audio Cube For this exercise, we will start with unconfigured Cube Buses. If the Bus Configure page is not clear, press the DSC [Clr] key and then [F3] (Yes) to the “Remove All?” prompt. Defining Buses We will configure the system to have 6 Aux and 6 Pan type buses. While in the Bus Configuration menu and screen, press [F1] to select the type of bus you need. The choices are: AUX, PAN, or NONE. You will see “none” in brackets next to the bus type.
Section 10: The Audio Cube Cube Aux Masters Press the DSC Aux then Bus Master keys (both are lit). You will see the 6 Aux Bus Master controls on screen in the lower left. The Cube aux system works similarly to the console aux system in that there are fader aux sends to each bus and a aux master bus level. On screen you see the Aux Master controls, each with a dB readout a meter and a name block. Screen controls are mapped to the DSC rotary knobs.
Section 10: The Audio Cube On the Aux Bus Master screen you'll see a Bus Kill switch in the lower left of the control set. This is an “all mute”. It mutes all aux masters. You then unmute them individually from the bus mute key below each control. Buss Kill 6 Cube buses are configured as aux sends. We've explored the aux master controls. Now we will look at the Cube aux sends from individual faders.
Section 10: The Audio Cube Aux Copy Copy is done from the top level Cube Aux menu. Select the Cube aux send set you wish to copy then press [F1]. Press fader attention keys to copy all aux level and status info to subsequent faders. Pan Bus Masters The last subject of this section covers the pan bus master controls. Press the DSC [Pan Assign] and [Bus Master] keys.
Section 11: Hyper-Surround 11 HYPER-SURROUND EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual 11 - 1
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Section 11: Hyper-Surround SECTION 11 : HYPER-SURROUND Overview M ixView 3.0 introduces the new Hyper-Surround Multi-Format surround panning interface providing more comprehensive control over your surround mix. Euphonix Hyper-Surround uses a system of virtual “panners” to distribute the signal from the consoles Hyper-Surround equipped faders to stem buses. A stem is defined as a group of buses or tracks of a recorder, organized to accommodate a specific monitoring environment from mono to 7.
Section 11: Hyper-Surround panner that is just the Sl-Sr (surrounds) sending to buses 4 and 5. All of these formats and more are possible simultaneously with Hyper-Surround. You will need 11 buses defined as pan buses in your Cube to complete all three exercises. To quickly determine the number of pan buses available, press the DSC [Pan Assign] and then [Bus Master] keys to view the Pan Bus Master screen. The number of red bus master pots displayed on the screen indicates the number of Pan buses available.
Section 11: Hyper-Surround The panner screen appears in the right half of the DSC screen display. Assuming no panners have been built, all panners are blank. Selecting a Format Selecting a Channel The blue cursor is in the first block of the first panner. Press [F2] to begin selecting the panner format. While viewing the SmartDisplay menu, use the SpinKnob or [+]/[-] keys to scroll through the available formats until you see “5.1”: P1-> 5.1:L F1 F2 B–– F3 F4 Notice that “5.
Section 11: Hyper-Surround Naming the Panner While still in the panner setup menu, panner names can be entered from the QWERTY keyboard. The panner with the blue highlight in the vertical name column on the left side of the panner blocks is the one selected for naming. Press [F1] on the QWERTY keyboard, type the name and press [Enter]. The name will appear in the 8 character display next to the corresponding left column DSC key and in the left hand panner screen.
Section 11: Hyper-Surround Front Focus - Focus control is unique to the Euphonix Hyper-Surround system. It is similar in function to divergence. The major differentiating factors are that the Focus control does not render the L-C-R pan control ineffective, and that it requires three or more buses in order to function.
Section 11: Hyper-Surround The Assignable Keys When in Pan Assign mode, the two columns of DSC Assignable Keys become integral to the Hyper-Surround system. The left column keys are the Panner Keys, used for assigning elements (faders) to panners. The panner name will appear in the 8 character display next to each left column key. Once panners are set up, you simply attention a fader then turn on the desired panner by pressing a panner key.
Section 11: Hyper-Surround assigned or unassigned. This is useful after all assignments are made because panner assignment is locked out, essentially “safing” all assignments. LCRS Assign keys - These keys allow limited quick, hard pan assignments even while in pan mode. This is similar to the bus mode except that the panner controls are still active. Press L and see the front pan control move to the extreme left and the dot locate hard left on the grid. In a 5.
Section 11: Hyper-Surround Notice that in both the Full 5.1 and the LCR 5.1, the bus indication on the panner setup display changed from black to yellow background. Yellow in the bus indication window tells you that the bus is shared by another panner. In this case panner 1 and panner 2 share buses 1, 2 and 3. A panner’s ability to have common buses is a powerful feature of HyperSurround. The system will not permit a fader to be assigned to two panners simultaneously if the panners have common buses.
Section 11: Hyper-Surround Again select the 5.1 format. Press [F3] moving the flag to the channel indication above F3. Change the channel to Sl (SpinKnob). Press [F4] () to assign a bus number. Change the bus number to 4 (same as panner 1). Press the DSC [right arrow] key and then [F2]. Notice the automatic assignment of 5.1 Sr into the second block. Press [F4] and change the bus to 5. Press [Esc] to use the panner. With the [Pan Assign] key lit you are now ready to use the three panners you've constructed.
Section 11: Hyper-Surround Custom Formats Several additional “custom” formats are included. These custom formats were originally created for theatre and theme attraction based mix environments. However many have been found useful by film mixers wishing to push the envelope. You decide…: 4x1 through 9x1 - Front pan control will pan through each bus consecutively. Front Focus and divergence function as defined.
Section 12: MIDI Remote Control 12 MIDI REMOTE CONTROL EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual 12 - 1
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Section 12: MIDI Remote Control SECTION 12 : MIDI REMOTE CONTROL T he CS3000/2000 contains many MIDI communication capabilities. These features include control and automation of MIDI outboard FX equipment, external control of the console from MIDI sequencers in both studio and live applications and SnapShot linking between consoles in our multi-operator film systems. Overview Additionally, several objects on the Mix Controller are now able to send and receive MIDI continuous control data.
Section 12: MIDI Remote Control The double-ended arrow in the MIDI presets menu, designates which parameter is currently adjustable. Parameters are adjusted using the SpinKnob, [+]/ [-] or Numeric keys (See side note below for details). Assigning MIDI Presets Press [F1] (MP01) and select a MIDI preset from 1 to 50: MP01 01 Ch1 ––– RCL F1 F2 F3 F4 Each preset can transmit sixteen (16) different program changes.
Section 12: MIDI Remote Control Assigning MIDI channel Descriptive names may be assigned to any MIDI channels by pressing [F1] on the QWERTY keyboard. The Assignable key display shows up to eight characNames ters while the SmartDisplay menu shows the name’s first three characters: Reverb 1 PRG 31 9 2 — — — 10 MP01 01:Rev 31 F1 F2 Ch 2 RCL F3 F4 After entering/modifying a MIDI preset, you can choose to send all of its assigned program changes at once or each program change individually.
Section 12: MIDI Remote Control channel and program change), press the [*ST] key to link that preset to the selected SnapShot. Before establishing the link, a confirmation menu is displayed: MP37 linked to SS03 F1 F2 F3 F4 The double-ended arrow indicates that you can change to another SnapShot at this time if desired. To complete the link, press the [Enter] key.
Section 12: MIDI Remote Control SIDE NOTE: the transmit and receive MIDI channels respectively. The double-ended arrow designates whether the transmit or receive MIDI channels (1-16) may be changed. Different situations may require more control versatility. All that is transmitted (or received) are MIDI program changes on standard MIDI channels, so rerouting is possible by altering the default setup.
Section 12: MIDI Remote Control MIDI Chan: Designates what MIDI channel is to be used for the communication between the console and the external device. (Na/Nc) SIDE NOTE: Adjustment methods: S= SpinKnob & [+]/[-] keys move cursor vertically within column. F= [F4] toggles field value. Na= (Arrow)* SpinKnob, [+]/[-] keys & Numeric keypad set numeric field value. Nc= (Colon)* SpinKnob & [+]/[-] keys move cursor vertically within column.
Section 12: MIDI Remote Control Remote Control of Console Objects by External Equipment (IN) You can also continuously control console objects using external MIDI equipment via port 3 of the console’s MIDI interface box. From the top level MIDI menu, press [F1] to display the MIDI In screen: Unlike the MIDI Out feature, there are many more console object choices capable of being controlled by external signals. (The above screen shows only a portion of the entire list of controllable console objects.
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A APPENDICES EUPHONIX MIXING SYSTEMS Euphonix CS3000/2000 Operation Manual A-1
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System Setup F8 F9 F10 System Setup Window accessed from QWERTY Keyboard Function key [F10] Appendix 1: System Setup Menu System setup options can be accessed by hitting [F10] on the QWERTY keyboard. This brings up the screen shown below. From the DSC, options can be selected by scrolling up and down the fields with the SpinKnob and selecting field options with the DSC [+]/[–] keys.
Appendix 2: Titles andFiles 1. Projects and Titles are both stored as “directories” on the disk Project directories are labelled with a ".PRO" extension and Title directories are labelled with a ".TTL" extension. Title directories can exist only within project directories. Example: The DOS path for a given Title may be “d:\proj01.pro\title_01.ttl” 2. Files stored within a Title Directory Created The following files can be found within a Title Directory… TITLE.FIL Stores data associated with a Title.
Input M1 M2 L1 L2 L3 L4 BUS 25 1 27 3 2 26 PAN BAL 4 28 ovld 29 5 6 30 31 7 8 32 33 9 10 34 35 11 12 36 37 13 14 38 39 15 16 40 41 17 18 42 43 19 20 44 45 21 22 46 47 23 24 48 DIR ST1 ST2 Fader Pan/ Balance Mode Theory Appendix 3: Fader Pan/Balance Modes M1 & M2, L1 to L4 Each fader has 2 DCAs, one for the left Line Level Signals ST Bus bus and one for the right. A 6-input sum/ Left selector feeds each DCA.
Appendix 4: Aux Send Modes Aux Send Mode Theory Mode selection for the aux blocks works the same as for the fader blocks. Each aux block can source from any of the 6 signals M1, M2, L1 to L4. The block assigns these to the 8 buses. The Mono Independent mode is usually used in this block because it is the standard way to set up two controls feeding sources independently to two buses, as in a conventional console with mono sends.
Appendix 5: CS3000 System Wiring CS3000 4-96 Two Tower System D l ita ig Sy em st 25-pin Eubus (HSL) Cable 5-pin XLR Headphone/Talkback Cable Po w 37-pin Eugraphix Cable er Talkback Mic MixView Platform 25-way D-type MIDI Interface Keyboard Mouse DSC CS3000 Mix Controller ES108 A 2 4 6 2 4 6 MIDI Key 2 4 6 9 12 15 21 30 9 12 15 21 30 Dynamic Range Processor/Emulator Key 2 4 6 9 12 15 21 30 MIDI Mon Mon 2 4 6 9 12 15 21 30 MIDI Key Mon 2 4 6 9 12 15 21 30 MIDI Key Mon 2 4
Appendix 6: CS3000 Mix Controller Dimensions Dimension A Dimension B Dimension C 2.25" 58mm 8.18" 208mm CS3000 Top View 34.77" 883mm 4.25" x 8.5" 108 x 216mm Leg Opening Front Frame Model # CS3000-2 CS3000-3 CS3000-4 Dimension A inches mm 57.4 1455 81.3 2065 105.3 2674 Dimension B inches mm 48.9 1242 72.8 1849 96.8 2459 Dimension C inches mm 48.2 1223 72.1 1830 96.
Appendix 7: CS3000 Mix Controller Configurations The diagram below shows two-, three-, and four-section CS3000 systems. The Master controller may be placed on either side of the DSC. Model # I/O Controller (4 channel strips) Master Controller Digital Studio Controller (DSC) CS3000 Frame Section Model #s 34.8" 883mm DSC CS3000-2-40 Number of 4module-wide frame sections 57.4" 1455mm DSC Number of faders fitted CS3000-3-72 81.3" 2065mm DSC CS3000-4-104 105.
Appendix 8: Audio Tower Dimensions The illustration below shows the dimensions and air flow for the Euphonix Audio Tower Audio Tower. The fans can be mounted on either side of the Tower enclosure. Dimensions For twin Tower systems you should make sure that the exhaust of the first Tower is not blowing into the intake vents of the second. Back 2.2” 56mm Air Flow Through Side Vents Air Flow In Audio Tower View from Above 4.8" 122mm 10.6” 270mm 5.9” 150mm 5.0” 126mm 19.0” 483mm 10.2” 258mm 0.8” 20mm 17.
Appendix 9: CS3000 Configurations CS3000-2-40 CS3000-4-96 Music System Top View of Mix Controller Euphonix CS3000/2000 Operation Manual A - 11
Appendix 10: CS3000/2000 Technical Specifications ▼ Universal Input Amplifiers (Mic or Line) ▼ Line Inputs ▼ Outputs ▼ Equalizer Balanced transformerless input Input Impedance = 2.3kΩ Gain = +64 to 0dB in 0.5dB steps Input Noise = -124dBu equiv. @ +64dB gain, 150Ω src. Frequency Response = 15Hz to 30kHz, +0.10/-0.
Index I INDEX EUPHONIX MIXING SYSTEMS CS3000/2000 Operation Manual I-1
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Index INDEX Symbols PSU 10-5 rear panel connections 10-6 “*” in the SmartDisplay 9-19 setup 10-6, 10-11 “**” 3-7 system configuration 10-6 “??” 3-7 Audio Cube Aux menu 10-15 0.
Index clearing all SnapShot memories 3-10 blocks 4-21 channels 4-21 dynamics assignments 9-16 SnapShots 3-10 stereo fader level 4-47 CLIP Indicator options 4-52 CLIP indicator level options 4-53 Combiner 1-4, 4-3, 4-4, 4-41 uses 4-42, 5-8 Comments 2-13 fields 2-9 compressor 1-18 connectors 38-pin Elco 5-7 90-pin Elco 5-7 pinouts 5-14 console aux blocks 4-29 aux buses 10-6 blocks 1-9 inputs 5-7, 5-8 outputs 5-7, 5-8 Copy Aux send 4-36 Block 4-23 EQ Values 4-17 Single Setting 4-23 Copy command 2-14 Copy Proje
Index bypass relay 9-4 clear assignments 9-13 compression ratio 9-27 crosspatching 9-20 dipswitch settings 9-16 DSC Route keys 9-17 Dynamics Screen 9-25 EPROM 9-4 Examples compression ratio 9-28 gate attack time 9-27 Gate Hold Time 9-28 gate release time 9-26 filter adjustment parameters 9-34 filters 9-3, 9-37 front displays 9-15 Front Panel 9-5 gain curve 9-11, 9-15 GainBall 9-26 GainBall & GainCurve 9-28 GainCurve 9-26 headroom 9-23 Key Input patchbay 9-36 linking 9-17, 9-23 master & slave 9-19 metering 9
Index Keys (DSC) [*ST] 4-7, 4-33, 4-35, 7-18, 730, 7-35, 9-19, 9-22, 9-33, 12-6 EQ linking 4-12 match SnapShot 3-10 U.I.A.
Index Mode Copy Pan/Bal Mode 4-23 Fader Pan/Bal A-5 Monitor assignment 4-37 Dim 4-54 External Inputs 4-48 Film Mode - 4 Track 4-55 Link 4-54 Options 4-54 Source Selection 4-9 monitor 1-21 Monitor Before Record 7-24 MBR 7-19, 7-20, 7-24 Monitor Combinations & Examples 455 monitor options Automute 4-54, 4-55 Link 4-55 monitor outputs 4-9, 4-48 source 4-54 Monitor SET Options 4-54 monitoring stereo stems 4-48 Mono Ind mode 4-32, 4-36 Mono mode 4-34 Motors:ON/OFF 6-4 mounting disks 2-6 mouse 1-5 Moving Fader 1-
Index shuttle/jog wheel 4-61 sidechain 9-3 Signal paths, Elements 4-3 Single Channel Snapshot mode 3-7 Single panner mode 11-6 slave fader 8-4 Slave Select menu 8-4 Q Slave Selection, Groups 8-4 Slaves follow 6-6 Quad Bus Cards SmartDisplay 1-9, 2-5 QBC 10-5 QWERTY keyboard 1-5, 7-5, 7-6, 9- SMPTE 7-3 SnapShot 3-5 47, 11-6, 11-11, 12-5 info not stored 3-12 QWERTY Keys menu 3-5 [Tab] 7-6 nulling 3-10 Physical 3-10 R rename 3-7 RCL 3-6, 3-7 store 3-6 Rear Divergence 11-7 SnapShot linking 12-3, 12-5, 12-6 Rear
Index Title 2-8, 2-11 contents 2-13 Head & Tail 2-15, 4-63 load 2-14 rename 2-15 save 2-13 SnapShots 3-3 Tail 2-15 Title Rename, Delete & Copy 2-14 Title Setup 2-13, 2-15 Title Setup menu 2-15, 4-63 Title Utility menu 2-14 Touch:On/OFF 6-5 Tower. See Audio Tower Trim 1-13, 7-9 Trim mode 7-14 TT jack 5-3 U UFL & UFR 10-10 Direct Out Selection 4-40 unity gain 4-8 Universal Input Amplifier U.I.A.
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