88D User Manual
Issue 2
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88D User Manual
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Table of Contents
1 Introduction...........................................................................................................10
Information in this Manual.........................................................................................10
Getting Started........................................................................................................10
2 - The 88D Console..................................................................................................11
i. Console Surface....................................................................................................11
ii. Processing Engine.................................................................................................12
iii. I/O System.........................................................................................................12
The Fader Strip........................................................................................................13
Assignable Logicator.................................................................................................14
Fader Assignment....................................................................................................14
Layer Selection on The Fader Strips............................................................................14
Fader Calibration......................................................................................................15
AFU (Assignable Facilities Unit)..................................................................................16
System Paths..........................................................................................................16
Monitor Section........................................................................................................17
Studio Loudspeaker Monitoring (SLS)......................................................................17
Monitor Headphones.............................................................................................17
Return Talkback...................................................................................................17
16 Key Monitor Selector........................................................................................17
Monitor Inserts.....................................................................................................17
Reductions...........................................................................................................18
Monitor Source Selector........................................................................................18
Calibration Set-up.................................................................................................18
Control Room Volume...........................................................................................18
LS Cuts...............................................................................................................18
AFL Level.............................................................................................................18
4 Speaker Sets.....................................................................................................18
Solo Modes..........................................................................................................18
Solo....................................................................................................................19
CUT....................................................................................................................19
CAL I/P...............................................................................................................19
FIX LVL...............................................................................................................19
M/S....................................................................................................................19
Phase Left...........................................................................................................19
Phase Right.........................................................................................................19
Bus / Tape..............................................................................................................20
Global Console Controls............................................................................................21
Ganging..............................................................................................................21
Linking................................................................................................................21
Copy...................................................................................................................22
Clear...................................................................................................................22
Path Edit.............................................................................................................22
Main to Faders.....................................................................................................23
Pre-Dub...............................................................................................................23
Bus/Tape ............................................................................................................23
Global Layer Switching..........................................................................................23
AFU Path Select....................................................................................................23
Swap Fader Block.................................................................................................23
Flip.....................................................................................................................23
2T Mixers................................................................................................................24
2T to Faders.......................................................................................................24
2T O/P Level Control.............................................................................................24
CUT ...................................................................................................................24
SEL.....................................................................................................................24
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Tone.......................................................................................................................24
SEL ....................................................................................................................24
2T......................................................................................................................24
MT......................................................................................................................24
FREQ..................................................................................................................24
OSC REP..............................................................................................................24
Talkback.................................................................................................................25
Talk....................................................................................................................25
TB Level Control...................................................................................................25
Red Light Key.......................................................................................................25
Auto TB...............................................................................................................25
SEL 1, 2 & 3.........................................................................................................25
TALK 1, 2, & 3......................................................................................................25
SLS.....................................................................................................................25
All.......................................................................................................................25
Upper Knob Assign...................................................................................................25
Knob Layers.........................................................................................................25
Lock Knob............................................................................................................25
Track Trim...........................................................................................................25
Small Fader.........................................................................................................25
Assign.................................................................................................................26
Surface Utilities........................................................................................................26
Banks..................................................................................................................26
Pan.....................................................................................................................26
Mix Minus............................................................................................................26
Meters.................................................................................................................26
MIDI...................................................................................................................26
Labels.................................................................................................................26
M/C....................................................................................................................26
Transport Control.....................................................................................................27
Master Automation...................................................................................................27
TFT Meter Bridge......................................................................................................28
Channel Meters....................................................................................................28
Centre Meters......................................................................................................29
3 - Surround Sound ..................................................................................................30
Surround Stem Selection and Routing.........................................................................31
Surround Monitoring.................................................................................................32
Surround Monitoring Formats....................................................................................33
Mono......................................................................................................................33
LCRS Pre and Post Decode Monitoring.........................................................................33
Surround Monitor Solo and Cut..................................................................................33
Monitor Facilities Rack..............................................................................................34
Joysticks.................................................................................................................35
Joystick Automation..............................................................................................35
Routing Screen........................................................................................................36
Banks..................................................................................................................36
Pan.....................................................................................................................36
Upper Channel Strip Panel.........................................................................................37
Process Select Keys..............................................................................................37
Process On Off Keys..............................................................................................38
Routing Keys........................................................................................................38
4 - Working With Signal Paths..................................................................................39
Channels.............................................................................................................39
Tracks.................................................................................................................39
Main Outputs.......................................................................................................46
Groups................................................................................................................46
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Auxiliaries............................................................................................................47
Cues...................................................................................................................47
Externals.............................................................................................................47
Films...................................................................................................................48
System Paths.......................................................................................................48
SEL.....................................................................................................................48
5 - Monitoring...........................................................................................................49
Listens................................................................................................................49
Talkback..............................................................................................................49
Film Listens.........................................................................................................49
6 - Routing................................................................................................................50
I/O Routing.............................................................................................................50
Path Routing............................................................................................................50
Path Routing with the Access Keys.............................................................................51
7 - Machine Control...................................................................................................52
Standard Functions...............................................................................................52
Shuttle................................................................................................................52
Jog.....................................................................................................................53
Trim....................................................................................................................53
Locate.................................................................................................................53
Auto Locate.........................................................................................................53
Locate Labels.......................................................................................................54
Cycle...................................................................................................................54
Cycle Labels.........................................................................................................54
Auto Cycle...........................................................................................................54
Pre Roll...............................................................................................................55
Post Roll..............................................................................................................55
Roll Back.............................................................................................................55
8 - Automation..........................................................................................................56
Offline Automation...................................................................................................56
Controls that can be Automated.................................................................................56
Faders.................................................................................................................57
Cuts....................................................................................................................57
Other Path Controls..............................................................................................57
Overview of Automation Modes..................................................................................57
Automation Scope....................................................................................................58
Putting Controls in Scope..........................................................................................58
Mix/Pass Trees.........................................................................................................59
Initial Snapshot........................................................................................................59
Automation Events...................................................................................................59
Safety Snapshot.......................................................................................................60
Label List................................................................................................................60
Play Pass.................................................................................................................60
Record Pass.............................................................................................................60
Timecode Considerations for Mix/Passes.....................................................................60
Timecode Display.................................................................................................60
Automation Modes and the Mix/Pass...........................................................................61
Record Modes and Stop.........................................................................................61
Isolate................................................................................................................61
Play....................................................................................................................61
Lock Record.........................................................................................................61
Touch Record.......................................................................................................61
AutoGlide............................................................................................................61
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Trim and AutoTrim................................................................................................62
Coalesce Trim......................................................................................................62
Keep Desk...........................................................................................................62
Modifiers to Automation Modes..................................................................................63
Auto Touch..........................................................................................................63
To End................................................................................................................63
To Start...............................................................................................................63
Keep Mix.................................................................................................................63
Run........................................................................................................................63
Undo......................................................................................................................64
Collect Touch...........................................................................................................64
Using Collect Touch Buffers....................................................................................65
Rehearsing Collect Touch.......................................................................................65
Making a Scene Change.........................................................................................65
Setting and rehearsing the control values................................................................65
Extra control values..............................................................................................66
Using Safety Nets for automatic punch in and out.....................................................66
Making a Mix/Pass....................................................................................................66
8 - Snapshots............................................................................................................67
Create Snapshot...................................................................................................67
Recall Snapshot....................................................................................................67
Appendix: Glossary of Terms.....................................................................................69
AFU........................................................................................................................69
Alpha Display...........................................................................................................69
AutEngX..................................................................................................................69
Automation Mode.....................................................................................................69
Button....................................................................................................................69
Check Box ..............................................................................................................69
Desk Setup .............................................................................................................69
Events....................................................................................................................70
Electronic Scribble Strip............................................................................................70
Encore Plus.............................................................................................................70
Function Key...........................................................................................................70
Glide......................................................................................................................70
Manual Glide........................................................................................................71
Auto Glide...........................................................................................................71
Manual Match.......................................................................................................71
Icon.......................................................................................................................71
Initial Snapshot (ISS)...............................................................................................71
Layers....................................................................................................................71
MADI......................................................................................................................71
MIOS......................................................................................................................71
Mix/Pass.................................................................................................................72
Mix/Pass Tree..........................................................................................................72
MonFac Rack...........................................................................................................72
Pan Designators.......................................................................................................72
Path.......................................................................................................................73
Play Pass.................................................................................................................73
Processing Element..................................................................................................73
Quad-Madi II Card....................................................................................................73
Record Pass.............................................................................................................74
Routing...................................................................................................................74
Safety Snapshot.......................................................................................................74
SPS Rack................................................................................................................74
Sync Source ...........................................................................................................74
Virgin Territory........................................................................................................74
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Word Clock .............................................................................................................75
VFD........................................................................................................................75
XSP........................................................................................................................75
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1 - Introduction
Information in this Manual
The information in this manual is mainly presented as a reference for users who are
familiar with the operation of mixing consoles. It is assumed that operators and
engineers who will be using the 88D are familiar with concepts such as EQ, delay,
etc. 88D is an assignable digital system and this may be new territory for some
users. If you are new to digital systems then you should follow the guidelines
below.
Getting Started
If you are a new user, and particularly if you are new to digital systems, then you
should familiarize yourself with the information in the following:
Glossary Of Terms
Definitions of terms as they are used in this manual and in the context of using
88D.
88D Console Surface
Section-by-section overview of the 88D's console surface.
Working With Signal Paths
Defines the various types of signal paths and what they are used for. This chapter
is very useful for former users of analogue systems.
Encore Plus
The Encore Plus advanced automation system is mentioned frequently within this
manual. For full information please refer to the separate Encore Plus Manual.
Menus
Information on the Encore menus is provided in the separate Encore Plus Manual.
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2 - The 88D Console
88D is a fully automated, all digital console consisting of three parts:
i.
The console surface
ii. The audio processing Engine
iii. The I/O system.
i. Console Surface
The control surface comes in frame sizes from 12 to 48 faders, any of which may
be sub-fitted with multiples of 6 faders. The surface is arranged to make mixing as
comfortable as possible, with the most commonly used controls located within easy
reach of the central position.
Adjustments can be made to any channel, using conventional channel by channel
controls.
Encore Plus, the configuration and automation system, is fully integrated into the
console surface.
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ii. Processing Engine
The Processing Engine provides a pool of digital processing that is used to
manipulate signals according to control changes on the console surface.
The 88D can have signal processing added or removed as required for particular
jobs including configuring the number of channels, which paths have EQ and
dynamics processors available and where insert points are placed..
All audio signals are connected to the Processing Engine from the I/O system via
industry standard MADI connections.
MADI also allows the easy connection of third party digital equipment.
iii. I/O System
The 88D I/O system comprises a complete range of digital interfaces, high
definition, ultra fast ADCs and DACs, sample rate converters and remote low noise
mic amps.
It also incorporates a router that is used to patch any physical input to any input
path (eg. Channel, Track Tape Return, etc.) and any output path (eg. Aux Send,
Main Output, Track Send, etc.) to any physical output.
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The Fader Strip
Faders have two scales - a conventional level scale with 10dB in hand
and a trim scale for creating VCA style trims.
Settings for the selected channel will be displayed on the Logicators
and the key leds.
Two logicators are located at the top of each strip, one for Pan control
and an assignable logicator whose function is determined by the four
keys (ASSIGN, SMALL FADER, TRACK TRIM & LOCK KNOBS)
located at the top of the master panel.
Adjacent to each of these logicators are 3 leds that show the
automation mode for whichever control is currently held there.
Fader strips are provided with two scribble strips - a conventional
scribble strip and an electronic scribble strip. The channel name
assigned during the configuration process will be displayed in the
electronic scribble strip. This may be set by default or user defined.
The BUS and TAPE buttons only apply to Tracks, and switch the
monitoring from what is being sent to the tape machine, or what is
being returned. Pressing both buttons at once will put that Track in
Overdub mode where the sum of what is being sent and returned will
be heard.
LOCK KNOB locks the currently assigned function on the top logicator
and prevents it from being reassigned to another function.
LOCK will ‘lock’ that path to the surface when applying global layer
changes.
SOLO INHIBIT prevents that path from being cut when a solo is
pressed anywhere else on the desk. This is useful for keeping reverb
returns open so a path may be heard in context (for example a vocal
mic plus reverb).
Pressing SUSPEND will temporarily allow you to change the offset
between controls that may be linked, and also allows you to change
fader offset values where faders are linked.
The ACCESS key (beneath the SOLO button) calls that path into the
AFU, so that all of it’s controls are accessible.
The Access key is also used for internal routing and the setup of
Gangs and Links.
The two triangular Up/Down leds are used in automation and show the direction
that the fader must be moved to match the previous play pass when working in
Automatch mode.
To the left of the fader, a tri-coloured led indicates the incoming signal level.
•
Yellow = present
•
Orange = in danger of clipping
•
Red = digital clipping is occurring
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Below this, a bargraph meter can be set to either show compression gain reduction
and gate action, or input signal presence. This is set in Encore Plus.
Beneath the automation mode buttons, integral leds show the state of any Master
/ Slave setups that the fader may be a part of; also whether EQ, Dynamics
and/or Filters have been added to this path, plus leds for phantom power (48v)
and phase indication (Ø)
NB: the Phase led indicates whether a signal has been switched out of phase, NOT
whether the DSP engine has detected a phase reversed signal.
Beneath the fader, a (ST) led indicates whether that path is mono (off) or Stereo
(on).
See Automation Controls for an explanation of the automation keys.
Assignable Logicator
The Assignable Logicator is the top Logicator on the fader strips. It
can be set to operate as a Small Fader, or a Track Trim control,
or it can be assigned to the control of any other function.
The Assignable Logicator can also be locked to its current function
on individual fader strips by pressing the Lock Knob button.
The lower Logicator on the fader strips is a Stereo Pan Control.
Surround panning may be carried out from the AFU Pan logicators or
the assignable joysticks.
Fader Assignment
88D makes economical use of the fader strips by having up to 24 pages of path
layouts, grouped together in 6 banks, each comprising of 4 layers.
The layout of the paths in the layers and banks is performed using Desk Designer,
which is accessed in Desk Editor (see Encore Plus Manual).
The paths that are currently active on the faders are said to be "on the surface".
Layer Selection on The Fader Strips
The required Bank is selected by pressing the numbered keys on the touch screen
when in Banks mode (Banks mode is selected by pressing the BANKS key next to
the layer name alphas)
The required bank can also be selected by holding the BANKS key and pressing the
‘+’ or ‘-‘ key above it on the Master Panel and the required layer within that bank is
selected using the A, B, SUB A or SUB B global layer selection keys. By default,
selecting a bank will bring layer A to the surface.
It is also possible to scroll through the banks by holding the BANKS button and
using the + and – buttons just above to step through them.
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To assign a particular layer to the assignable
logicators, use the Knob Layers selection buttons.
Assigning signal paths to faders within layers and
banks can be done within Encore Plus.
The required bank should be selected in Desk
Designer, then the four layers within that bank
set up. Another bank can be selected and the layers set up in the same way. When
the set up is complete, clicking on Save+Load will apply these changes.
Fader Calibration
The faders are calibrated when the console is started up, either from a cold start or
a re-boot.
A fader calibration can be performed manually. To calibrate the faders press and
hold the CLEAR key. Press the 1st fader Access key by the monitoring section, then
release both keys.
The faders will be re-calibrated.
The audio is not affected by a fader calibration.
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AFU (Assignable Facilities Unit)
The AFU is an assignable central section which has controls for all the processing
elements that can be assigned to a path, plus Aux contribution and I/O Routing
control.
The AFU consists of AUX, Pan, Filters, EQ, Dynamics and I/O controls.
To assign a signal path the AFU, press the Access key for the required path on the
fader bed (the AFU fader is the left most fader on the master monitor panel), or
press the AFU PATH SELECT keys to step through the paths in the current set-up.
System Paths
It is possible to assign the System Paths (Talkback, LS1, LS2 and the SELs) to the
AFU.
LS1 and LS2 are the Listens used for the AFL and PFL output and the SELs (SEL1,
SEL2, SEL3, etc.) are used by the stereo monitoring system.
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In addition when working in surround, film listens (FLS1 - FLS8 surround solo
busses) and film monitors (FLM1 – FLM8 surround monitor busses) can be
configured depending on surround format required.
To assign a system path to the AFU press and hold the EXT key in the SLS section
and press the AFU Access key.
Use the arrow keys to scroll through the system paths.
Note: The Listens (LS1 and LS2) are not the small loudspeakers (L/S 1 and L/S 2).
To interrogate an AFU Logicator setting, touch the Logicator.
The current setting and the name of the assigned path will be displayed in the AFU
Parameter display window.
Monitor Section
Studio Loudspeaker Monitoring (SLS)
The SLS monitor provides level control and selection of Monitor Source.
FOLL MON sends the control room monitor source to the Studio loudspeakers.
To select a specific audio path to send to the SLS hold the EXT button and make a
monitor selection, or press one of the 2T keys.
Monitor Headphones
The monitor headphone controls provide level and monitor source selection either
from patch or the monitor selector to be fed into the control room headphones.
To select a specific audio path to send to the headphones hold the MON SEL key
and make a monitor selection.
The headphone feed requires a DAC to work, and this is set on SEL4 in Encore.
Select PATCH to feed the headphones from a patched source external to the desk.
Return Talkback
(To be implemented in V2.0 s/w)
The RTB controls allow the control of a return talkback mic (using a channel input)
and the feed of this signal into the studio monitoring.
16 Key Monitor Selector
The 16 keys in this section allow individual labels for easy identification of monitor
sources, which can be selected by pressing their key.
This is used in conjunction with the Monitor Selector sources.
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Monitor Inserts
(To be implemented in V2.0 s/w)
The ability to insert various analogue and digital encoder/decoder devices into the
monitor is provided.
Reductions
(To be implemented in V2.0 s/w)
The ability to monitor the mix via format reductions from 7.1 down to Stereo.
Monitor Source Selector
Internal sources such as Mains, Groups, Auxes, & Cues, the 2Track mixer selections
and surround stems can be selected, as well as up to 16 externals and 3 surround
external machines.
The selected source type is shown on the 16 key monitor selector keys above to
show the available sources of that type, together with their individual label ID to
feed the monitor. The PFL key enables PFL sources via the fader bed PFL key to be
monitored in the control room.
The SUM key allows a collection of stems to be created for surround applications.
The STEM selects the stems for surround monitoring.
Calibration Set-up
(To be implemented in V2.0 s/w)
Control Room Volume
The alpha display shows the current monitoring source.
This will need setting up in the first instance with reference to the amplifiers in the
control room. The red level knob should be set to 85dB and the amplifiers trimmed
with the use of an SPL meter to obtain the correct monitoring gain.
LS Cuts
The Loudspeaker Cuts can either be individually muted or globally using the main
CUT key.
The LS Solo inverts the operation allowing the speaker selection to be soloed.
AFL Level
(To be implemented in V2.0 s/w)
The AFL system provides independent level control from the main monitors, and a
special control called Solo In Front, which allows in context mixing with the
balance between the soloed sources and the rest of the mix to be adjusted.
The SOLO CLEAR key (which flashes when any solo is activated) cancels all solos.
4 Speaker Sets
(To be implemented in V2.0 s/w)
Three surround speaker sets (Large, Small1, Small2) and a stereo speaker set
(mini) are provided with the ability to trim each speaker set, and lock the S, LS /
RS and LE / RE signals to a particular speaker set.
The ability to flip the audio from the rear LS / RS surround speakers to the front LR
speakers (LS Flip) is also provided.
Solo Modes
(To be implemented in V2.0 s/w)
The safe keys in the monitoring section isolate the channel or monitor paths from
the solo.
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The Solo I/L key toggles the state of the interlocking solo mode.
Solo
The console has both pre-fader listen (PFL) and after-fader listen (AFL) solo.
AFL solo can work as standard AFL which only affects what is heard on the monitor,
or Solo-In-Place which cuts all other paths but leaves open reverb returns so that
a path can be isolated from the mix yet still heard in context.
The operation of AFL is selected in Solo Settings & Relay Control Preferences
from Encore. The default AFL is Solo-In-Place.
To AFL solo a path press the SOLO key for the required path. The led above the
key will illuminate and the integral led in the SOLO CLEAR key on the CONTROL
ROOM panel will flash.
The solo signal will appear on the Control Room Monitor speakers, plus the AFL
speaker (if fitted).
Press additional SOLO keys to listen to a group of paths.
To PFL solo a path press the PFL key for the required path. The integral led will
illuminate red and the integral led in the SOLO CLEAR key on the CONTROL ROOM
Panel will flash.
The solo signal will appear on the PFL speaker (if fitted and configured).
Press additional PFL keys to listen to a group of paths.
To cancel all active solo keys press the SOLO CLEAR key on the CONTROL ROOM
panel, the integral led in the key will stop flashing.
CUT
The CUT key is used to mute a path.
Cut is at the same point in the signal path as the fader (ie it is similar to moving
the fader down until the signal is cut).
Pre-fader auxiliary contributions are not affected by Cut.
CAL I/P
(To be implemented in V2.0 s/w)
Only applicable to systems with MonFac monitoring racks, this allows inputs to be
calibrated to predetermined levels.
FIX LVL
(To be implemented in V2.0 s/w)
Only applicable to systems with MonFac monitoring racks, this allows inputs to be
fixed at predetermined levels.
M/S
(To be implemented in V2.0 s/w)
Only applicable to systems with MonFac monitoring racks, this allows the
monitoring to be switched to Mid/Side.
Phase Left
Inverts the phase of left monitoring.
Phase Right
Inverts the phase of right monitoring.
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Bus / Tape
Bus/Tape switching only applies to the Tracks and controls the input signal to the
path.
The status of the Bus/Tape switching on the Tracks will affect the audio that is
heard on any of the monitoring destinations that Tracks are routed to. Tracks are
switched to Bus by default for new Desk Setups.
To create a mix of bus and tape (eg. for over-dubbing) press both the BUS and
TAPE keys at the same time, the integral leds in both keys will illuminate.
The signals from the Bus input and Tape input will be summed before any signal
processing in the path is applied.
This is useful for introducing new material over finished material that has been
previously recorded.
The ALL BUS and ALL TAPE keys globally switch all monitor paths, including those
that form stems.
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Global Console Controls
Ganging
A multi-level ‘VCA’ style ganging system is supported for
faders.
To set up a gang structure press the GANG LINKS key in
the FADERS GLOBAL CONTROL panel twice (one press will
do the set-up).
The displays for all strips (including master group aux faders)
will flash ‘GANGING’.
Select a master by pressing and holding down the Access key
on the selected strip. The key’s led will illuminate. In the
display to the left of the fader, the MST led will light confirming its selection as
master.
To select slaves hold down the Access key in the master strip and touch the faders
for the chosen slaves. To the left of the fader, SLV will illuminate green.
To select sub-masters press the Access key of the desired sub-master and touch
the fader of the strip/s which will be the sub-master’s slave/s. The sub-master’s
status display will illuminate MST and SLV at the same time, and the slave will
show SLV.
To deselect slaves/masters/sub-masters hold down the Access key of the master
and touch the faders for the faders to be deselected. As each fader is touched, the
SLV led will extinguish, and when all slaves have been de-selected, MST will also
cease to be lit.
To save the Gang structure press the KEEP DESK key in the utility panel.
To exit the gang set-up mode press CLEAR.
Linking
It is possible to link controls between paths, so that changing the value of a process
on one path affects the same parameter on other paths in the link.
To set up a control link, put the desk in LINKING mode by pressing the GANGS
LINKS key. All the alphas will flash the word LINKING.
To set the scope for a link, press and hold the Access key for the desired path, then
press the CLEAR key. This resets the scope of the link to include all controls for
that path.
Touch any logicator on the AFU and all other controls will be dropped from the
scope. It is now possible to add or subtract controls into the Link scope by touching
logicators. On/Off keys and Aux Pre/Post keys can be added or subtracted by
pressing them to the first level – when you do this, the adjacent led will illuminate.
Once the scope has been set, press and hold the Access key on the source path
then press the Access keys for those paths to be included in the link. The relevant
Access keys will light to show that it has been included in the link.
NB: it is not possible to link I/O controls, mic gain, porting or delay.
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Linking scope can also be set by touching controls on the AFU to include them in or
remove them.
To add an offset between linked elements:
•
•
For controls - hold the SUSPEND button for that channel and adjust the required
control on the AFU
For faders – as above or hold any other fader in the link, then adjust the required
fader
Press KEEP DESK to ensure that the Links are saved with the desk set up.
Holding one of the linked members access keys, and then pressing the CLEAR key
will clear that link.
To exit the linking set-up mode press CLEAR.
Copy
Control values and switch states may be copied between paths.
Press the COPY key, the alphas will flash 'Copy'. Press the Access key for the path
you wish to copy values from. The scope defaults to include all controls including
faders and mutes, all available mode and process keys will illuminate red.
When you now touch logicators (for individual controls) or On/Off Keys (to include
all controls in that process), it is possible to reduce the scope to nothing and add
elements in.
To add/subtract faders and mutes, use the Fader Mode and Cut Mode keys above
the fader.
When the scope has been set, hold the Access key for the source path, and then
press the Access keys for destination paths.
Press COPY again or press CLEAR to exit Copy mode.
Save the console configuration with KEEP DESK.
Clear
Accessing this key clears the Copy, Snapshot, Links or Gangs modes. Holding this
key and touching a control parameter resets this control to its default setting ie
holding CLEAR and touching a pan control would set the pan position back to the
value as set in Defaults Manager.
Path Edit
Pressing this key displays the Path
Edit window on the Encore screen.
This allows the processing order to
be manipulated by dragging and
dropping items on the screen into
the path.
By pressing the relevant channel
access keys, this operation can be
performed over many paths.
Pressing the PATH EDIT key again
allocates the change in signal
processing, if a change was made
otherwise the mode is exited. The
audio is muted while this operation
takes place and this allocation takes
approx 15 seconds.
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The PATH EDIT key can also be used for swapping paths on the console surface.
By using the Access keys, faders can be swapped with each other eg pressing
channel 1’s Access key and channel 3’s Access key together they will swap. The
channel order on the surface would then be 3,2,1,4,5 etc.
CLEAR exits this function without allocating any processing. This is useful when
just swapping channels on the surface.
Main to Faders
Pressing this key brings the Main faders
onto the 8 assignable faders in the centre
section, starting at the 2nd fader (the 1st
fader is always the AFU fader).
Likewise Group to Faders, Aux to Faders,
& Cue to Faders performs a similar
function for all other master faders.
Pre-Dub
Accessing this key puts the Pre-Dub
master faders into the assignable centre
section. Holding this key and pressing the
access key for a pre-dub master expands the pre-dub into the predub zone, as set
in Encore.
Bus/Tape
Accessing these keys globally switches the multi-track monitors to bus or tape.
Global Layer Switching
Allows the global switching of fader beds between layers. Four layers are directly
available from a total of 24 predefined layers (six banks of four).
AFU Path Select
Operating these left and right arrows scrolls through the
channels on the surface and places that particular path onto the
AFU fader in the centre section and its relevant path processing
into the upper AFU.
Swap Fader Block
Operating the SELECT key selects a fader block to also be assigned to the master
faders to allow operation of these paths from the centre section. The led turns red
to indicate swap block mode.
Operating the SELECT key a second time turns it green and allows you to dial up 6
faders at a time and places them in the centre assignable fader section, but
increments them by one fader at a time.
Flip
Pressing this button swaps whichever path is held on the faders with the last layer
applied to the Assignable Logicators.
The assignable logicators do not have to be displaying a fader for this feature to
work.
If they are displaying an assignable control, then the layer swap will occur and they
will display the same control for the flipped layer.
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2T Mixers
2T to Faders
Places the 2-track mix contribution on to the faders.
This allows you to balance a mix contribution to 2
selected aux outputs.
This gives you the ability to do a stereo mix while
working in 5.1
On the faders, the Cut becomes the 2T route, and the
channel pan becomes the mix contribution pan.
2T O/P Level Control
Controls the level to the 2T outputs.
•
A flashing green FDR led indicates balance is on the channel faders.
•
A solid Red SIG led indicates outputs assigned and on level control.
CUT
Mutes the 2T output.
SEL
When Aux Masters are assigned to central assignable faders, holding SEL and
pressing an aux master Access key assigns that Aux master to the 2T output. The
logicator then acts as the master send level.
Pressing SEL & CUT together toggles green PR led & yellow PO led making the mix
contribution from the original bus Pre fade or Post fade.
Tone
SEL
Allows oscillator routing by holding this key and selecting an
output source in the monitor section. The tone then routes to
this source.
2T
(To be implemented in V2.0 s/w)
Routes the oscillator to 2T outputs
MT
This routes the oscillator to multi-track buses that are not stem members.
FREQ
(To be implemented in V2.0 s/w)
Toggles and locks oscillator frequency to 100Hz, 1kHz or 10kHz.
OSC REP
Turns tone on/off.
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Talkback
Talk
This switches TB on and off and can be set to
Momentary or Latching within Encore.
TB Level Control
(To be implemented in V2.0 s/w)
Sets the TB mic level.
Red Light Key
The Red light key can be set to operate a relay that
switches between two states, Record or Rehearse,
usually for operating a recording light outside the
control room. This is only available on consoles
equipped with GPI.
Auto TB
(To be implemented in V2.0 s/w)
This key automatically enables all Talkbacks when time code is stationery.
SEL 1, 2 & 3
Allows the setup of Talk paths directly to three separate destinations.
Hold SEL 1, 2 or 3 and then press the destination(s) you wish this particular
Talkback to be routed to.
TALK 1, 2, & 3
Talks directly to three separate destinations as set up above.
SLS
(To be implemented in V2.0 s/w)
Routes Talkback directly to Studio Loudspeakers.
All
Routes Talkback to Talk 1, 2 & 3 destinations, plus SLS.
Upper Knob Assign
Knob Layers
Switches the upper knob layer to A, B, C or D.
The 4 character Layer name can be labelled within
Desk Editor in Encore.
Lock Knob
Locks the upper knob function when it is in Assign
mode.
Track Trim
Switches the assignable logicator to track trim with +/- 24dB of level control.
The first press will show Input trim (in lowercase), and second press will show
Output trim (in uppercase). For paths where either input or output trim is not
available, the window will be blank.
Small Fader
Switches the upper assignable logicator to operate as small faders.
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Assign
Switches the upper logicator to show an assignable function. By holding this key
and touching an AFU control the assignable knob takes on that assignment.
Surface Utilities
Banks
Pressing this button brings up the names of the
24 layers onto the VFD screen. You can then
bring each of these layers to the faders by pressing the relevant layer name on the
VFD screen.
If you press and hold the Banks button and use the +/- buttons above, you can
change the Banks on the surface.
Holding the BANKS button and pressing either – or + will step through the current
banks.
Pan
Displays surround pan positions and pathnames for both the paths held by the
joysticks on the VFD screen.
Mix Minus
(To be implemented in V2.0 s/w).
Meters
Switches the lower display on the TFT meter bridge to show input meters for paths
that may be on the assignable logicators.
Holding the PAN button and pressing METERS shows surround pan positions on
the meter bridge for all paths currently on the surface.
MIDI
(To be implemented in V2.0 s/w).
Labels
Currently contains software version details.
M/C
(To be implemented in V2.0 s/w).
Shows a list of all attached machines.
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Transport Control
The transport controls are used to
control connected transports on
workstations, dubbers, multitracks
and video recorders/players.
88D provides simultaneous serial
port transport control of up to 5
machines and parallel machine
control using the optional AMS Neve
ES/2.
The Encore screen also has
transport control icons that
duplicate some of the functions of
these keys.
It can be used to adjust machine offsets, track arming and Record.
Master Automation
The Master Automation keys are used for global control
of dynamic automation modes.
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TFT Meter Bridge
Channel Meters
The TFT meter bridge provides
flexible metering and visual
feedback of the console channels
and master section.
The TFT channel meters are
aligned with console surface
channels and reflect the channels
called to the console surface.
Upper Section
The upper section of the TFT
channel meters shows the main
large meter for the channel
signal. This uses either VU, PPM
or Peak scale as set in Encore.
A Compression/Expansion meter is displayed to the left of each main meter.
Lower Section
The lower section of the TFT channel meters is divided into two parts:
•
•
The upper display can show EQ curves, Dynamics and panning as well as small level
meters for the path present on the small fader logicator.
The lower display can show EQ, Dynamics, pan (for Surround), Path Information
and Wavtrack waveforms.
These displays options are set within Encore.
The default display is EQ and the small fader meter. The small fader meter is
replaced by Pan when the pan page is called on the upper channel strip.
A Compression/Expansion meter is displayed to the left of each small fader meter
when either of these processes are present.
When present, the panning destinations are represented by speaker icons above
and below the pan window.
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Centre Meters
The master meters section
displays signal levels for the
Mains, Groups, Auxiliaries, Stems
and Films.
Top Row
The top row of the master meter
section starts with a stereo meter
for the currently selected
monitoring source, for example
Main 1.
Alongside the stereo level meter
is the phase meter. Whatever
path is routed to SEL1 (ie the
stereo path currently selected for
monitoring) will be metered here.
The AFL/PFL meters will display soloed AFL or PFL signals when either of these
busses is active.
The right hand section of the top row will meter the Films.
If no Films are present then this section defaults to showing Groups.
Lower Row
Aux Metering
12 Auxiliary sends are metered on the master meter screen lower row
Stems and Films
Stems and Film monitoring can only be seen if working in a Surround mode. If not
working in surround, the top row will display Groups.
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3 - Surround Sound
A surround sound setup on the 88D consists of three main parts:
•
Signal sources that are panned.
•
Film stems that accept the panned signals.
•
Film monitoring that controls which stems are output to the speakers.
The signal sources are inputs that are routed to Channels. Panning is always
available on a Channel, its effect depends on the pan designators applied to the
paths (Tracks or Groups) that the Channel is routed to.
Stems are made up of Tracks that have had suitable pan designators applied to
them using Desk Edit or Surround Manager in Encore. The pan designator
means that when a Channel is routed to a particular Track then the Track only
receives the relevant portion of the signal that is panned to the speaker position
indicated by the pan designator. This gives the mixer detailed control over how
signals are panned to multiple surround destinations.
5.1 Format Surround Sound Example
A 5.1 Format Surround Sound set up on Stem A is used as an
example in this chapter. This is a very simple set up for illustration
purposes only.
This format is known as 5.1 because there are five surround
destinations (Front Left, Front Centre, Front Right, Rear Surround
Left and Rear Surround Right) plus the sub-woofer.
The set up will be as follows:
5.1 Format Surround Sound using FL, FC, FR, SL, SR and SW (subwoofer).
Tracks 1 to 6 will form Stem A.
Channel 1 as a mono input from 1lin 1a.
Channels 11 and 12 as mono inputs 1lin 2a and 1lin 2b.
Channels are on layer A, Tracks are on layer B and Film Mons are
on layer D.
All the parts of this example refer to this set up and the steps
towards obtaining it. It is assumed an appropriate Desk Setup with
enough Channel, Track (bus) and Film paths has been loaded. It is
also assumed that the Films are patched to the correct outputs for
the speakers (the particular outputs used for the speakers will be
different from one 88D to another).
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The Simplified Surround Monitoring diagram shows how this works:
Stem A consists of the first four Tracks in the current Desk Setup, and the LCRS
Pan Macro has been used to designate the Tracks appropriately.
Channel 1 is routed to all the Tracks in Stem A.
If Channel 1 is panned fully to the left and front, then all of the signal will be sent
to Track 1. This is because Track 1 is designated in the panning position of Front
Left.
If the F/B pan control (or a Joystick) is used to move the signal back from this
position then the signal will slowly diminish on Front Left (Track 1) and gradually
increase on Mono Surround (Track 4).
The Tracks must then be routed to the correct Film paths in the Surround
Monitoring Panel. The Film paths are automatically assigned to speaker positions
according to the number of Film paths selected in the current Desk Setup.
In the example in the Simplified Surround Monitoring diagram there are 4 Film
paths that have been automatically assigned to the speaker keys that are used for
LCRS monitoring (L, C, R and SL).
It is also possible to use Tracks as inputs with pan controls. Tracks used in this way
are then routed to Tracks that belong to film stems.
The routing software prevents any feedback loops from occurring, and if an illegal
route is attempted, the message 'Circular route attempted, disallowed' will be
displayed on the console alphas.
Surround Stem Selection and Routing
There are three main steps for setting up Surround Stems to establish a full signal
path through the console from inputs to surround monitor outputs. A Surround
Stem must first be constructed from Tracks (busses) to allow routing to and from
the Stem. Once the Stem has been created then the film monitors it needs can be
selected and inputs can be routed to the Tracks in the Stem. This can be done in
any order.
This is not a fixed sequence of steps, but all the steps must be completed for
surround monitoring to be heard.
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5. Format Surround Sound Example:
6.
Select Paths to form the Stem
To use Desk Edit to select which Track goes to which speaker click on Desk
Edit in Encore Plus.
The Config page of Desk Edit will be displayed.
Click on the Tracks tab (the Tracks page will be displayed).
Click the Pan Macros key (the Pan Macros dialogue box will be displayed).
Click the radio button for 5.1 Format and click OK.
The 5.1 Format will be propagated across all the Tracks in sets of 6.
Click the STEMS tab (you will be asked if you want to change the surround
designator of the tracks to reflect the Film changes; click YES).
When the STEMS tab opens, click the Automatic button (you will be asked if
you want to reconfigure all the Track and Stem surround designators; click
YES).
Tracks 1-6 will now form Stem A; Tracks 7-12 Stem B etc.
Click the Save & Load button.
The Desk Setup will be saved and the changes will be allocated to the
console.
Click the Exit button.
The screen will return to the main Encore screen.
Surround Monitoring
When the film stems have been fully configured, the Monitor Panel allows various
monitoring options, including pre-defined sets of active speakers, summing of film
stems and/or external sources, mono sum, etc.
The STEM key in the Monitoring section is
used to select which Stem is being
monitored. The SURR EXT key selects the
surround machines`
To select a single Stem to monitor, press
Stem in the Monitor Selector, the source
selector led’s will display stems A to F.
Select the required stem.
The key will illuminate and the previous
selection will be cancelled.
To monitor multiple Stems (and/or external
machines) press the SUM key. The key will illuminate. Press the A to F keys as
required. The selected keys will illuminate. All the selected sources will be
monitored. Each time a key is pressed it will toggle on or off.
Selecting one of the surround machines will show the first 8 machine members on
the lower 8 monitor selectors. Holding own one of these machine members and
pressing the required speaker CUT key routes the machine member to that
loudspeaker for monitoring.
The number of tracks available on each external machine must be set up on the
Config page of Desk Edit. The inputs to the Externals must be routed from ports on
the Others page of I/O Patching.
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To interrogate external track routing press and hold the machine member key of
interest. The route will be indicated by the key illuminating. Machine members are
de-routed in the same way.
To monitor an external machine place the machine into play and press the required
machine key (M/C 1, M/C 2 or M/C 3).
Surround Monitoring Formats
The Mon Format Sel section allows the operator to override the output to the
surround monitoring speakers to check the mix in different formats. The section
also has trim control for fine adjustment of the monitor level.
Mono
To monitor a mono mix of the surround outputs press the MONO key. The key will
illuminate and the output to all the speakers except Front Centre will be cut.
A true mono mix of the surround monitor output will be heard on the Front Centre
speaker.
LCRS Pre and Post Decode Monitoring
Both of these functions use inserts to switch the Film paths through external
equipment for encoding and decoding. The Lt-Rt and POST DECODE keys are
latched with each other so selecting one will turn the other off.
To monitor the Left Total and Right Total output from the Dolby encoder press the
Lt-Rt key.
To monitor the decoded output from the Dolby matrix encoder press the Post
Decode key. The key will illuminate.
Surround Monitor Solo and Cut
If the solo option in Encore is set to AFL, the SOLO keys on the fader strips operate
the AFL Solo system. This is a non-destructive solo system that cuts the connection
between Stems and the Film paths without affecting the stem routing. This means
that if the Surround Sound panel is sending audio to an armed tape machine then
the audio will carry on being recorded, even though it is not monitored.
AFL Solo operation can be seen in the following example, which shows how a
Channel routed to an LCRS stem is affected by AFL Solo.
To use AFL solo press the SOLO key on the required fader strip(s). The panned
signal from the selected path will now be routed to the Film Listen paths and then
to the Film paths to output to the monitor speakers. The connection between the
Stems and the Film paths is cut while AFL Solo is active. The signal will appear on
the speakers according to how it is panned. This should match the routing through
any Stems, assuming that the Tracks in the Stems are routed to the correct
speakers according to their pan designators.
Any number of SOLO keys can be pressed, and the Access keys can be used to
bring other paths to the surface for solo.
The SOLO CLEAR key on the CONTROL ROOM section will flash.
To cancel solo press the SOLO keys to turn them off or press SOLO CLEAR on the
CONTROL ROOM section. The SOLO CLEAR key will stop flashing.
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Monitor Facilities Rack
The Monitor Facilities Rack is a digitally controlled analogue monitoring unit. It
provides enhanced monitoring facilities including stem summing and control of
multiple surround speaker sets.
The 88D console surface features dedicated hardware controls for the Monitor
Facilities Rack.
Audio Paths
The MONFAC Rack has nine main audio paths for surround monitoring allowing
stereo 5.1, 6.1 or 7.1.
Monitor Inputs
The MONFAC Rack has nine monitor inputs connected from console outputs.
External Inputs
There are three balanced audio inputs for Dialogue, mixing into the left, right and
centre monitor channels. There are nine balanced audio inputs for Effects, each
mixing into the corresponding monitor channel.
The Monitor inputs are fed from the console engine while the Dialogue and Effects
inputs are fed from playback sources. There is no inherent restriction to use and
the three stems can be connected as required.
Routing and Mixing
The balanced sums of Monitor, Dialogue and Effects stems can be switched onto
any of three nine wide output paths titled Large Speakers, Small 1 Speakers and
Small 2 Speakers using the speaker set switches on the central section of the 88D
console.
The left and right channels can also be switched to the stereo Mini Speakers.
LS/RS Flip
Pressing the LS/RS Flip control mutes the L and R signals and replaces them with
the LS and RS signals bringing the surround signals to the front speakers for
monitoring.
Level
The three stems - Monitor, Dialogue and Effects - have independent level controls.
The controlling software will create an aggregate level control value for each path
depending on control room level, dim level settings and speaker selection.
Speaker Calibration
The balanced Calibrate input replace the input signals to all speaker outputs for
speaker output level setting.
Return Talkback
The two Return Talkback inputs can be routed to either set of Small Speaker
outputs or to the Mini Speaker outputs. These paths incorporate mic pre-amps and
compressors to control RTB volume.
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Joysticks
The two Joysticks are used to pan up to two
signals across surround destinations.
As forward and backward arrow keys are
pressed the alpha display will cycle through the
available paths and shows both the system and
user names. The speaker symbols will
illuminate to show the speakers the path is
routed to.
Press and hold the SET key and press the Access key for the required path.
Release the SET key.
To control the panning with a joystick press the CALL key, the integral led will
illuminate red. Move the joystick as required.
To freeze a panning axis or divergence press the DIV, LCR, FB and LR keys as
required, the integral led will cease to be illuminated.
Joystick Automation
The Joystick Module has two MODE keys:
•
The upper MODE causes the REC, GLIDE, ISOLATE and PLAY keys to show and
set the automation mode of the Divergence controls.
•
The lower MODE key, with a line leading to the joystick, causes the REC, GLIDE,
ISOLATE and PLAY keys to show and set the automation mode of the three
panning axes as a group.
The path to be assigned to a joystick is selected with the nudge keys or by using
the SET key in conjunction with the fader strip Access keys. The path can then be
called to the Joystick by the CALL key. The Joystick Automation Controls will
override the automation controls on the channel fader strip, allowing separate
automation modes to be set for the panners and divergence.
This allows the full functionality of the panning controls to be controlled and
automated from one location.
For instance, a Channel is assigned to the joystick. The automation controls on the
channel strip are set to Lock Record. This will not affect the panners or divergence
as they are now out of the scope of control from the channel strip automation
controls.
The selection of automation modes is identical to that for a channel strip.
Automation is recorded against the panning controls for the path called to a
Joystick, and the Joystick module is treated as an extension of the channel strip for
Scope.
Channels and Tracks can be assigned to a joystick. The regular panning control on
the fader strips is locked out. The joystick provides full automation for recording
panning information. This makes it possible to pan as many paths as required with
repeated passes.
For full details of automation modes and using automation, see the Automation
chapter.
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Routing Screen
The VFD (Vacuum Formed Display)
Routing Screen is touch sensitive.
(The function of the buttons surrounding
the screen are to implemented in Version
2.0 software)
Banks
Press the BANKS button above the timecode display to show all the available 24
banks on screen. The banks display correspond to the 1-6 across the top of the
screen and A-D down the left side.
To call any of these banks to the console faders, press the relevant bank on screen.
The bank will be highlighted.
Press and hold the BANK button and use the – & + buttons just above to step
through the calling of banks to the console surface. As you step through the banks,
so the 4 layer names will change underneath the A/B/C/D layer buttons.
Pan
Press the PAN button just above the timecode display. If working in Surround,
once the CALL button on the joystick has been pressed, a graphical representation
of the associated joysticks audio position will be displayed in the screen
underneath. As the joysticks are moved, so the graphical display will follow,
including when playing back automation.
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Upper Channel Strip Panel
The upper area of the 88D channel strips provides
routing and parameter control. It consists of a
number of six fader wide panels matching the fader
panels in the chanbase.
It provides 8 touch sensitive Logicator controls per
fader, arranged as 2 groups of 4, to control EQ (4 or
8 band), Filter, Dynamics, other effects processes,
surround panning and channel by channel gain
control of I/O, Inserts and Auxiliary sends, all of
which are fully automatable.
The logicator display matches the keycap colour of
the process type to provide a simple colour
indication of current parameters.
Extensive feedback is also provided by the use of
alphanumeric displays of both parameter values and
strip functions.
The touch leds of each logicator will display different
colours depending on which process has been
selected:
EQ / Filter / Sidechain
Compressor / Limiter/ Gate / Expander
Insert
I/O & Pan
Aux
Green
Orange
Magenta
White
Blue
A comprehensive fully automated routing array is featured at the top of the strip to
control and display the routing to Mains, Auxiliaries, Groups and Track outputs, as
well as support for automated Multi-stem routing in surround applications.
Process Select Keys
The Process Select keys at the bottom of each channel will call the
process to the logicators (the internal led will be lit green if the
process is present; red once it has been selected).
Pressing Page 2 will bring up a second page of controls and also,
where applicable, the associated TFT display.
Pressing the EQ key will show the Frequency and Level for the first
4 bands. Press the PAGE 2 key to show Q and Shape. If there are
more than 4 bands present, then bands 5-8 are selected using the FLTR / SCF /
KEY key.
The FLTR SCF/KEY key shows Filter parameters, and Sidechain Filter or Key Input
controls on pressing the PAGE 2 key.
Each press of the I/O & PAN key will toggle through available Inputs and Outputs.
The first page shows current port input (or output), trim, phase and delay. Press
PAGE 2 to show port, trim and phase, plus the four pan controls. If there is more
than one output assigned to a path, the key becomes a three-state toggle. If ABW
has been assigned, this is also shown on this page.
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Pressing the COMP/LIM key will show compressor controls. Limiter controls are
selected with the PAGE 2 key.
Pressing the GATE/EXP key will show gate controls. Expander controls are
selected with the PAGE 2 key.
Pressing the INS key will show insert ports plus trim and delay. It is possible to add
trim and/or delay to both the input and output ports. The PAGE 2 key only has a
function if there is a second insert.
The Aux 1-8 key is used to show levels and on/off for auxes 1-4. Press the
GAIN/BAL key to access Pre/Post and Pan (if stereo). Press the PAGE 2 key (and
GAIN/BAL) to show controls for Auxes 5-8.
The Aux 9-16 key is used to show levels and on/off for auxes 9-16. Press the
GAIN/BAL key to display Pre/Post and Pan (if stereo). Press the PAGE 2 key (and
GAIN/BAL) to show controls for Auxes 13-16.
The alpha window shows the currently selected process. As a logicator is touched,
this display will change to show which control is active. The value of that control
will be shown in the alpha window adjacent to the logicator itself. Pressing the
ON/CLEAR key turns on or off the currently displayed process.
The internal led will be green if the process is present, red if it is switched on.
Process On Off Keys
Process On/Off keys in the middle of each channel strip turn the
process (if present) on or off, without having to have the process
currently assigned to the strip. This is useful for auditioning
processing while adjusting other parameters. For example EQ can
be turned on and off while adjusting Compressor parameters.
Routing Keys
The 24 buttons at the top of the strip show the signal routing. A
green led indicates a route is available; a red led indicates the
route is available and routed.
The alpha display underneath the buttons shows which path type
is currently being displayed.
Press either MAIN, GRP, AUX, REC 1-24 or REC 25-48 to show
those paths. Press the numbered buttons above to either send the
signal to that destination or a 2nd press will break the route.
SEL STEM will cycle through all 6 stems when working in Surround (A-F). When in
this mode,.
ROUTE STEM will send the path to all members of that stem (2nd press will take
those routes away).
Holding down the ROUTE MODE key allows you to set the automation mode for
Path to Stem routing.
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4 - Working With Signal Paths
A Path is the term used to describe a discrete part of the signal flow through the
console. Each path has a distinct input and output, either to the outside world or to
another path within the console.
A port is an interface to the outside world, eg a D to A output converter, an
AES/EBU input or a digital MADI input or output.
Note that all path types can make use of any signal processing functions, including
using up to two inserts per path. The total amount of processing available depends
on the hardware configuration.
The types of signal paths used by 88D are:
•
Channels
•
Tracks
•
Main Outputs
•
Groups
•
Auxiliaries
•
Cues
•
Externals
•
Films
•
System Paths
Channels
Channels provide the main inputs to the console. They can be mono or stereo,
although it is NOT advisable to use stereo inputs when working in Surround due to
panning considerations.
The default path names for Channels are just the number for the path (eg 1, 23,
etc.).
Channels must be connected (port routed, patched) to an Input Port. This is
achieved using I/O Patching or the I/O Controls on the upper channel strip.
Mic/Line switching is provided with input gain and trim control.
A Channel can have an output assigned to it, they can be routed to Tracks, Main
Outputs and Groups. They can also make contributions to Auxiliaries.
Channels are where most of the initial signal processing is applied.
Tracks
The Tracks provide the same functionality as tape monitors and track sends on
conventional analogue consoles.
Tracks can be switched between bus and tape inputs, as shown on the Track Signal
Path Schematic. They can only be mono.
The default path names are TK1, TK2, TK3, etc.
Tracks have a track send (output) and track return (input) at the beginning of the
signal path. These can be connected (port routed, patched) to an Output and an
Input Port. Bus/Tape switching is provided on the Fader Strips and with global
Bus/Tape switching on the master section.
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Tracks can have Channels, Groups and other Tracks as routing sources. They can
be routed to Main Outputs, Groups and other Tracks. The software that controls
routing prevents any feedback loops from occurring. They can also send to
Auxiliaries.
Tracks can be used as surround sound destinations and this is set up using the Pan
Designators and Pan Macros functions in Desk Edit. Tracks are also used to
configure Stems.
Main Outputs
Mains are the primary destination for final mixes and overall console output when
working in mono or stereo. Mains are also the most commonly selected source for
control room monitoring. There can be up to four Main Outputs in a Desk Setup.
Mains use the Master Faders but they can also be assigned to normal fader strips.
The default path names are MAIN, MAI2, MAI3 and MAI4.
Mains can have one or two outputs at the end of the signal path. These can be
connected to Output Ports using I/O Patching.
Mains can have Channels, Groups and Tracks as routing sources. They can be
routed to Cues or used as monitoring sources.
Press the MAIN key on the Monitor Select Panel to show the available Main
Outputs. To route a signal to a Main Output, press and hold the Access key for the
Main, then press the Access key of the source path to route the path to that
Output.
The source paths Access key led will light.
Groups
Groups provide extra mix busses and premixes for routing to Main Outputs or track
sends. Groups can be mono or stereo and there can be up to 24 Groups in a Desk
Setup. The default path names are GRP1 to GRP2.
Groups can have one output at the end of the signal path that can be connected to
an Output Port. This is achieved using I/O Patching.
Groups can have Channels and Tracks as routing sources. They can be routed to
Main Outputs and Tracks. The software that controls routing prevents any feedback
loops from occurring. They can also make contributions to Auxiliaries.
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Mono Groups can also have pan designators applied and this is set up using the
Pan Designators and Pan Macros functions in Desk Edit. Any Channels routed
to them will pan to the Group according to the designated pan position. This would
be useful, for instance, in feeding an out-board effects unit with the panned signal
for the rear surround, which could then be looped back into the console via an input
to a Channel.
Groups are not used in Film Stems. They cannot use Bus/Tape switching and are
therefore unable to use the Stem and Record Control section of the Surround Sound
panel.
Press the GROUP key on the Monitor Select Panel to show available Groups.
To route a signal to a Group, press and hold the Access key for the group, then
press the Access key of the source path to route the path to that Group. The source
paths Access key led will light.
Auxiliaries
Auxiliaries provide additional mix busses for creating cue mixes and extra output
mixes. There can be up to 16 auxiliaries in a Desk Setup, any of which can be mono
or stereo.
Auxes can be assigned to normal fader strips. The default path names are AU1 to
AU16.
Auxes can take Pre or Post fader contributions from Channels, Groups and Tracks,
and can be routed to Cues.
Press the AUX key on the upper channel strip to show available Auxes. Press the
numbered key in the routing array to route the path to that Aux.
Auxiliary Contributions
Pressing the Aux 1-8 key on the Upper Channel Strip will bring up the contribution
levels for Aux 1-4, plus it's ON/OFF switch. Pressing Gain/Bal will bring up the
Pre/Post switching for these auxes, plus a pan control if the aux is stereo.
Cues
Cues provide for cue mixes that are typically used to feed performer’s headphones
or studio loudspeakers. There can be up to twelve mono or stereo Cues in a Desk
Setup.
Cues can be assigned to the console surface, although this is not necessary for their
operation. The default path names for Cues are CUE1, CUE2, CUE3, etc.
Cues can use Auxiliaries and Mains as routing sources and are normally output via
the monitoring system (to the control room, headphones, etc.), but can also be I/O
routed to output ports.
Externals
Surround Externals are used to provide additional direct inputs to the Surround
Monitoring System from up to three tape machines (or other direct sources).
Each external machine can provide up to 24 inputs, giving a maximum of 72
externals. The number of inputs from each external device is specified as part of
the Desk Setup in the Config page of Desk Edit. The default path names for
Externals are EX1, EX2, EX3, etc.
Surround Externals can be assigned to the console surface, although this is not
necessary for their operation.
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They must be connected to an Input Port. This is achieved using I/O Patching.
Surround Externals are selected using the SURR EXT button on the Surround
Monitoring panel, then selecting the numbered machine.
Stereo Externals are selected using the EXT 1-16 buttons on the Surround
Monitoring panel, then selecting the numbered machine.
The default path names for Externals are EX1, EX2, EX3, etc.
Films
Films are only used if you are working in Surround. Film paths are used by the
Surround Monitoring system as outputs to the monitoring speakers.
Films can be assigned to the console surface, although this is not necessary for
their operation.
The number of Film paths is set in Desk Editor and follows the film law.
The speakers keys that become available are as follows:
Desk Edit Selection
Stereo
LCRS
5.1
6.1
7.1
Speaker keys available
L and R
L, C, R and LS
L, C, R, LS, RS and LFE
L, C, R, LS, CS, RS and LFE
L, LE, C, RE, R, LS, RS and LFE
The number of Film paths also determines the number of Film Listens. The default
path names for Films are FLM1 to FLM8.
Films must be routed to the outputs to the monitoring speakers with I/O Patching.
Press the STEM keys on the Monitor Select Panel to shows all the available stems.
It is possible to route to individual tracks contained within that stem using the
numbered keys in the routing array once the required STEM button has been
selected and the stem members are displayed.
System Paths
The System Paths are special path types that are required by 88D for monitoring,
solo, talkback and tone functions to operate correctly.
The number of each type of System Path can be changed for a particular Desk
Setup but it is strongly recommended to keep the normal defaults for these path
types.
SEL
There are six SEL paths by default. These operate:
1
Control Room Monitoring
2
Studio loudspeakers
3
PFL Speaker (optional)
4
Headphones
5
Desk VU Meters
6
Meter Bridge VU Meter (optional)
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5 - Monitoring
Listens
There are two LISTEN paths.
LS 1
AFL bus
LS 2
PFL bus
LS1 and LS2 should not be confused with the small loudspeakers (L/S 1 and L/S 2)
that can be fed by SEL1 and SEL3.
Talkback
There is one TALKBACK path that is used for the talkback system and the
tone/slate generator (The 2nd talkback path is used as a system path to monitor
inputs & outputs on MIOS headphones).
Film Listens
These are used to provide a non-destructive AFL solo bus that feeds the Surround
Monitors directly.
The number of FILM LISTENS is automatically changed to match the number of Film
paths, and this should not be changed manually.
They are named FLS1 to FLS8.
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6 - Routing
There are two types of routing on 88D:
•
•
I/O Routing for connecting (or patching) physical input and output ports to the
appropriate signal paths.
Path Routing for connecting signal paths together to form a clear path from input
to output.
I/O Routing
I/O routing is controlled with I/O Patching within Encore.
Path Routing
Path Routing can only be controlled from the console surface. This is done using the
Access keys on the Fader strips and those on the Master Panel.
Legal routing combinations are as follows:
Source
Destination
Channels
Tracks, Groups, Mains, Auxes
Tracks
Other Tracks, Groups, Mains, Auxes
Groups
Tracks, Mains, Auxes
Mains
Cues
Auxes
Cues
This does not include selections made in the monitoring system (monitoring,
talkback, tone).
The routing software ensures that no feedback loops will occur (eg a circular
routing pattern such as routing Trk 1 to Grp 1, Grp 1 to Trk 1). Whichever step is
attempted last in making such a routing pattern is ignored, and an alert regarding
Circular Routing is shown on the fader strip alphas.
All functions of I/O are set from the Input/Output section of the AFU from the
console surface
Set the upper channel strip to display either Input or Output as required then turn
the Rack Select and port number logicators to the desired port. Press On/Clear to
turn the port on.
It is possible to have the same input assigned to more than one path. Output ports
can only be assigned to one path.
To activate phantom power turn the 48V key on a line input that is switched to
MIC. The green led by the fader will illuminate.
Phantom power is applied to both A and B mic input lines.
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To change the width of the stereo image adjust the WIDTH Logicator as required.
The input or output must be selected as a wide stereo signal (ABW) in Desk Edit or
Path Edit.
To adjust delay on a port adjust the DELAY Logicator as required.
Delay must have been assigned to the port in the I/O Configuration of Encore.
Pressing the STEM button on the Monitor Select Panel shows all the available
tracks. Press and hold the numbered track key in the routing array and the Access
key of any source path to route the path to that track.
Path Routing with the Access Keys
The Access Keys on the Fader Strips are used for routing.
When an Access Key is used for routing a Track then it can only be used as
a routing source.
To route a path to destinations press and hold the Access Key for a source
(eg a Channel) then press other Access Keys for valid destinations (eg a Group).
Existing routing of the path will be indicated by the illumination of leds above the
source and destination Access keys when pressed.
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7 - Machine Control
The console surface and the main
Encore Plus screen each has a set
of machine controls that can be
used to control a tape machine or
other transport device via the MCS
controller.
Standard Functions
To put the transport into Play press
the PLAY key or click the Play icon
on the Encore screen.
The PLAY key will flash until
timecode is locked, when it will
illuminate solid green. The Play icon
on the screen will change from dark
green to light green when timecode
is locked and timecode is running on the screen.
To stop the transport press the STOP key or click the Stop icon on the screen. Any
other transport mode (Play, Locate, Shuttle, etc.) will be cancelled and the
transport will stop. With some machines, the SHUTTLE key will flash as the
machine shuttles to a stop.
To use Fast Forward press the FAST FORWARD key or click the Fast Forward icon
on the screen. The FAST FORWARD and SHUTTLE keys will illuminate and the
transport will shuttle forward.
Press the FAST FORWARD key again. The SHUTTLE key will cease to be
illuminated and the transport will fast forward. Each press of the FAST FORWARD
key will toggle the transport between fast forward and shuttle.
To use Rewind press the REWIND key or click the Rewind icon on the screen. The
REWIND and SHUTTLE keys will illuminate and the transport will shuttle in
reverse.
Press the REWIND key again. The SHUTTLE key will cease to be illuminated and
the transport will rewind. Each press of the REWIND key will toggle the transport
between rewind and reverse shuttle, depending on whether this preference has
been set.
To use Record press and hold the PLAY key until it illuminates green steady. Press
the RECORD key at the required point. The RECORD key will illuminate red steady
to indicate that the armed Tracks are recording. If no Tracks are armed then the
RECORD key will flash red. Release the PLAY key.
Press any transport key (other than RECORD) to terminate record mode.
If JOG is used to terminate record then the machine will stay in record until the jog
wheel is moved.
Cycle and Locate only terminate record when the cycle or locate process actually
starts.
Shuttle
Shuttle is used to run the transport forwards or backwards at variable rates.
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To use shuttle press the SHUTTLE key, the key will flash. Rotate the jog wheel in
the required direction The SHUTTLE key will illuminate steady.
Initially, clockwise will shuttle forwards and anti-clockwise will shuttle backwards.
The faster or further the wheel is moved, the faster the transport will shuttle.
If the maximum shuttle speed is exceeded then the transport will go into fast
forward or rewind, as appropriate. The jog wheel will still have control of the
transport. The shuttle speed can be reduced by moving the jog wheel slowly in the
opposite direction.
Jog
Jog is used to move the transport forwards or backwards without running
constantly. The transport will only shuttle while the jog wheel is being moved.
To use Jog press the JOG key, the key will flash. Rotate the jog wheel in the
required direction and the transport will shuttle according to how much the wheel is
moved.
The JOG key will illuminate steady while the machine is shuttling. When the wheel
is not being moved, the transport will stop shuttling and the JOG key will flash
again.
To Jog frame-by-frame press the + and - keys on the keyboard while the JOG key
is flashing. The + key moves the transport forward by one frame and the - key
moves the transport back by one frame.
Trim
Allows you to change timecode offsets that may be in place between machines.
Locate
Locate is used to position the transport at a particular point in timecode, and then
drop into Play if the option is selected in Preferences.
To Locate click on the LOC icon on the screen or press the LOC key. The MCS
Labels dialogue box will be displayed on the screen showing the current Label List.
The LOC key will flash, the MCS is now waiting for a location to be selected.
There are now two methods of deciding where to locate to: Auto Locate or Locate
Labels.
Auto Locate
This uses the timecode of the last label used.
Press the LOC key again or press the PLAY key. The LOC key will illuminate steady.
The transport will fast forward or rewind to the grabbed time. The machine will stop
or go into PLAY, depending on how the preference has been set in System
Prefs/MCS’.
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Locate Labels
The Label selected for Locate can be chosen using the
keyboard or by using the MCS Labels dialogue box on the
screen.
A label can also be adjusted or entered manually in the MCS
Labels dialogue box.
To select a label with the keyboard type in the number of the
required Label and click the Locate button or press the LOC
key or Enter key. The transport will wind or rewind to the
selected timecode point.
To select a Label on the screen click on a Label. The Label will be highlighted in blue
and the Locate key will become available.
Click the Locate key, press the LOC key, press the Enter key or press the Play
key.
The transport will wind or rewind to the required timecode. If the Play key was
used, it will drop into play.
To change or enter the timecode manually, select the Label from the screen or type
the number on the keyboard.
Click the Locate button, press the LOC key, press the Enter key or press the Play
key.
The transport will wind or rewind to the required timecode point. If the Play key
was used, it will drop into play.
The Label List can also be used to create or edit a Label if there is no Label with the
required timecode section.
Cycle
Cycle is used to continuously play between two timecode points (Cycle From and
Cycle To) and rewinds the transport when the end point is reached.
To cycle, click on the Cycle icon on the Encore screen, and the MCS Labels dialogue
box will be displayed on the Encore screen showing the current Label List.
There are now two methods of deciding the cycle points: Auto Cycle or Cycle
Labels.
Cycle Labels
The Labels used for the cycle points can be selected from the MCS Labels dialogue
box or by entering Label numbers on the keyboard.
To select Labels from MCS Labels dialogue box highlight the required pair of Labels.
Click the Cycle button, press the PLAY key or press the Enter key on the
keyboard. The transport will now cycle between the two points. The other transport
keys will indicate the transport status (ie rewind, play, stop, etc.). This will continue
until a different transport command is issued.
Auto Cycle
This uses the last play and stop timecode points. The Cycle From and Cycle To
points are updated every time the PLAY and STOP keys are pressed, so the play
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point can be updated at any time while the transport is already in Play by pressing
the PLAY key.
While the CYCLE key is flashing, press the CYCLE key again or the PLAY key. The
CYCLE key will illuminate steady and the transport will now cycle between the two
points. The other transport keys will indicate the transport status (ie rewind, play,
stop, etc.). This will continue until a different transport command is issued.
If the Stop point is in front of the Play point then the Stop point will be used as the
Cycle From and the Play point will be used as the Cycle To.
Pre Roll
The Pre Roll Time set in MCS Preferences can be used with Locate and Cycle. Pre
Roll places the transport an extra amount in front of the Locate To or Cycle From
time to allow the automation system to lock to timecode correctly before reaching
the Locate To or Cycle From time.
Pre Roll can also be useful when Safety Nets are enabled. If the Safety Net times
are matched to the Cycle times (eg using the same Labels), then Pre Roll will allow
some audio to be heard immediately before the Safety Net start time so that the
changeover can be heard in context.
To use the Pre Roll Time click the Use Pre Roll Time check box so that an X is
shown. To change the Pre Roll Time click the Pre Roll Time button. The MCS Presets
page will be displayed, change the Pre Roll Time as required and Exit from
Preferences.
Post Roll
The Post Roll Time set in MCS Preferences can be used with Cycle. Post Roll
causes the transport to continue playing by an extra amount after the Cycle To
time has been reached. When the Cycle To time plus the Post Roll is reached then
the transport will rewind back to the Cycle From time (minus Pre Roll).
Post Roll is useful for preventing sudden transitions at the Cycle To time and can
also be useful when Safety Nets are enabled. If the Safety Net times are matched
to the Cycle times (eg using the same Labels), then Post Roll will allow some audio
to be heard immediately after the Safety Net end time so that the changeover can
be heard in context.
To use the Post Roll Time click the Use Post Roll Time check box so that an X is
shown.
To change the Post Roll Time click the Pre/Post Roll Time button.
The MCS Presets page will be displayed. Change the Post Roll Time as required and
Exit from Preferences.
Roll Back
Roll Back is the amount by which the transport is moved back when the ROLL
BACK key is pressed. The Roll Back time is set with Encore Plus and Roll Back will
not operate if Encore Plus is not active.
When Encore Plus starts up, the current Roll Back time set in MCS Preferences is
sent to the MCS.
To use Roll Back press the ROLL BACK key, the ROLL BACK key will illuminate.
Depending on how the machine executes a Roll Back, the REWIND key or the
SHUTTLE key will also illuminate while the transport is rolling back. When the Roll
Back is complete, the ROLL BACK key and REWIND or SHUTTLE key will cease to
be illuminated.
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8 - Automation
This introduction provides an overview of 88D automation for users who may have
had limited experience with automation systems in general.
Detailed information on the Encore Plus Automation System is provided in the
separate Encore Plus manual.
The automation system on the 88D uses Mix/Passes to store control changes
against timecode as they are made on the console surface. A control change is
recorded as an Automation Event and is initially stored in a Record Pass. A
control change is recorded when a suitable Automation Record Mode is selected
for a control, the system is in play and the control is adjusted. When the system is
taken out of play, the Record Pass is complete and can be saved as a Mix/Pass in
the current Mix/Pass Tree.
Mix/Passes are organised in a Mix Tree.
The Mix Tree shows the order in which
Mix/Passes were created and the lines of
revision used to create each Mix/Pass.
The Mix Tree is displayed graphically so
that the dependencies are shown clearly.
A new Mix/Pass starts to record when
timecode is running (ie the system is in
play) and a recordable control change is
made.
The new Mix/Pass is called the Record
Pass. The Mix/Pass that is playing back is
called the Play Pass.
The Record Pass is a revision of the Play Pass. If the Record Pass is kept to the
Mix/Pass Tree then it will become the Play Pass. The dependence between these
two Mix/Passes can be seen by displaying the Mix/Pass Tree.
Offline Automation
Mix/Passes are also created when using offline automation functions (Copy Path
Data, Mix Conforming, Fader Moves List, etc.).
When an offline automation function is used to make changes, a new Mix/Pass is
created so that the existing source Mix/Pass is preserved.
Mix/Pass Trees and individual Mix/Passes can also be transferred to a separate
computer that has Offline Encore Plus installed on it. This allows offline automation
functions to be performed without interrupting work in the studio.
Controls that can be Automated
All controls that can form part of a signal path can be automated (eg fader, cut,
aux contribution levels, etc.), the exception to this is SOLO, mic gain, delay etc.
Controls that are not automated include all the monitoring controls, transport
controls and other miscellaneous functions.
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For setting automation modes, the controls in each path are split into three
categories:
•
Faders
•
CUTs
•
All other controls
All controls that are in automation scope can have their automation modes changed
by the Master Automation Controls. In addition to this, each category of controls
have keys for changing automation modes on individual paths.
Faders
The automation mode of each fader can be controlled individually by holding the
FDR MODE key and pressing the PLAY, REC, TRIM and GLIDE keys on each
fader strip. The fader is motorised so that it 'displays' previously recorded moves as
they are played back.
Cuts
The automation mode of each cut key can be controlled individually by holding the
CUT MODE key and pressing the PLAY, REC, TRIM and GLIDE keys on each
fader strip. The led above the CUT key displays previously recorded cuts as they
are played back.
Other Path Controls
This includes all parameters for all processes, on/off keys, pans, auxes (including
pre/post) etc.
Controls which cannot be automated are: mic gain, delay, porting, monitoring,
speaker cuts and phase switching.
Overview of Automation Modes
The automation modes determine whether a
control will:
•
•
•
•
Have moves recorded
Have moves played back
Use a combination of record and play back
Be ignored by the automation system
Automation modes are controlled locally on the
fader strips and globally by the master
automation controls.
The basic automation modes are:
Isolate:
Lock Record:
Play:
Touch Record:
Auto Glide:
The control will not have automation recorded or played back.
The control will replay previously recorded moves until it is
touched. The control will then Record until the mode is changed
manually, glide is initiated or timecode stops.
The control will only replay previously recorded moves.
The control will replay previously recorded moves until it is
touched. The control will then Record until it is released, at which
point it will snap back to the Play Pass position and resume replay.
The control will replay previously recorded moves until it is
touched or used. The control will then Record until it is released, at
which point it will Glide back to the Play Pass position and resume
replay. The control uses the Auto Glide Time to match back to the
Play Pass.
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Faders have two additional modes which are:
Trim:
Auto Trim:
The fader moves to the centre of its travel (centre trim position) and
plays back by staying there. Using the +/- 20dB scale to the right of
the fader, when it is touched it starts to record moves as offsets from
the Play Pass. The fader stays in record until the mode is changed
manually, glide is initiated or timecode stops.
This is the same as Trim, except that when it is released the fader
matches back to the Play Pass position using the Auto Glide Time.
The term Arm is used to describe the action of selecting a record mode for a
control, so that it is ready to start recording when it is touched.
Automation Scope
Scope is used to determine whether or not a control can have its automation mode
changed by the Master Automation controls.
The current Automation Scope is part of the Mix/Pass. If no other actions cause a
Record Pass to be created then changing Automation Scope creates a Record Pass
(when the system goes into Play or if it is already in Play). Changes to Automation
Scope are not saved unless the Record Pass is saved.
Any control that is not in Isolate is in Scope unless the DESK AUTO, CUT AUTO or
FADER AUTO keys have been toggled off.
•
•
•
To toggle Faders in and out of control Scope press the FADER AUTO key. Faders
(not in Isolate) are in Scope if the led above the key is illuminated.
To toggle CUT keys in and out of control Scope press the CUT AUTO key. CUT keys
(not in Isolate) are in Scope if the led above the key is illuminated.
Controls not in Isolate will be in Scope when the led above the DESK AUTO key is
illuminated.
Putting Controls in Scope
To place all controls in Scope (including those in Isolate) press and hold the
ALL/SCOPE key then press the Master Automation key(s) for the required
Automation Mode. All controls will be put into the selected Automation Mode.
If any of the DESK AUTO, CUT AUTO or FADER AUTO keys have been toggled off
then the appropriate set of controls will be unaffected.
If a Trim mode is selected, only the Faders will have their Automation Mode
changed.
Now use the Master REC, PLAY, TRIM and GLIDE keys to change the Mode of
controls in Scope (ie without using the ALL/SCOPE key as well).
If the Master ISOLATE key is pressed then all controls in scope will be isolated and
taken out of scope.
To place controls in a path in Scope without changing the Automation Mode toggle
the state of the DESK AUTO, CUT AUTO and FADER AUTO keys as required.
Press and hold the ALL/SCOPE key then press the required Access key. All
controls in the path will be put in Automation Scope, except those excluded by the
DESK AUTO, CUT AUTO and FADER AUTO keys. The current Automation Modes
of controls will remain unaffected. Release the ALL/SCOPE key.
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The Access keys for as many paths as necessary can be pressed while the
ALL/SCOPE key is held down.
To remove individual Faders or CUT keys from Scope isolate the control by holding
the associated mode key and pressing the ISOLATE key by that fader.
To remove all controls from Scope and Isolate them press and hold the
ALL/SCOPE key and press the ISOLATE key.
Mix/Pass Trees
Mix/Passes are organised in a Mix/Pass Tree. The Mix/Pass Tree shows the order in
which Mix/Passes were created and the lines of revision used to create each
Mix/Pass.
The Mix/Pass Tree is displayed graphically so that Mix/Pass dependencies are
shown clearly.
A Mix/Pass Tree always starts with Mix/Pass 1.1.
A Mix/Pass Tree is displayed graphically for selecting a Mix/Pass revision as the Play
Pass or editing the Tree.
Each Mix/Pass contains:
•
•
•
•
An Event List containing an Initial Snapshot (ISS) followed by Automation Events
Automation Modes and Automation Scope as they were when timecode stopped at
the end of the pass
A Label List
A Safety Snapshot
Initial Snapshot
The Initial Snapshot (ISS) is at the beginning of the Event List. It contains the
settings of all controls that can be automated when a New Mix/Pass Tree is created.
The ISS settings are saved in special Automation Events which all have a Timecode
of zero. Only ISS events can have a Timecode of zero. ISS events can not be edited
with the Event List functions in Encore Plus.
The ISS is updated when a control is taken out of Isolate for the first time. The ISS
takes the control setting either when the system goes into Play (for controls that
are taken out of Isolate before Play) or when a control is taken out of Isolate if the
system is already in Play.
Updating the ISS creates a Record Pass. The new settings are not saved unless the
Record Pass is saved.
The primary function of the ISS is to provide an initial setting for every control. This
is so that the control has a value to return to, such as when using Glide or when
the system comes out of Play.
Automation Events
A dynamic automation event is a record of a change made to a control.
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Each event records:
•
•
•
•
The
The
The
The
path it occurred on
control that was changed
timecode (resolved at frame level)
value of the setting
For instance, if a fader is moved continuously then a change in level will be
recorded against every frame of timecode until the fader is released, and this can
be seen in the Event List as an individual event at each frame.
Safety Snapshot
A Safety Snapshot is taken when Play is pressed to start timecode running. It is a
Snapshot of the whole console (ie it is not affected by either Automation Scope or
Snapshot Scope). Otherwise, it is the same as a standard Snapshot.
The Safety Snapshot is not affected by and does not affect the automation system
but it is stored with a Mix/Pass when a Record Pass is kept.
A Safety Snapshot is only used when loading a Mix/Pass revision from the Mix/Pass
Tree. It can optionally be loaded or ignored at this point.
Label List
The Label List is a set of grabbed timecodes with short text descriptions (ie labels).
These can be used to mark significant points in timecode (eg scene changes). The
main use of the Label List is as a source of useful timecodes for functions such as
Locate, Cycle, offline editing, etc.
Play Pass
The Play Pass is used to play back control moves. As timecode runs at play speed,
the automation system uses the times stored against the automation events to
determine when the control value in each event should be played back.
Record Pass
A new Record Pass is made when changes are made to the Play Pass. When a
Record Pass is kept then it becomes the new Play Pass.
Timecode Considerations for Mix/Passes
The timecode at which each event is stored will depend on the current frame rate.
This means that the frame rate is significant for a particular Mix/Pass. For instance,
a Mix/Pass that is recorded at 25 frames per second (fps) should be played back at
25fps.
If an attempt is made to load a mix with the incorrect frame-rate set in Encore,
then the user will be warned of this.
Timecode Display
A consequence of the method of storing time values is that the display format can
be changed at will. Timecode can be displayed in standard HH:MM:SS:FF format or
as Foot-Frames, as long as the same frame rate is used.
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Automation Modes and the Mix/Pass
The current Automation Modes are part of the Mix/Pass. If no other actions cause a
Record Pass to be created then any changes to Automation Modes will create a
Record Pass (when the system goes into Play or if it is already in Play).
Changes to Automation Modes are not saved unless the Record Pass is saved.
Record Modes and Stop
When the system comes out of Play any controls that are Recording will return to
their armed state. No glide rates are used, so the control will snap back in one
frame. This will also happen to controls that are part way through a glide (ie they
will snap back from whatever value they have when the system comes out of Play).
Isolate
A control in Isolate will not play back or record moves.
If a control in Isolate is moved then the audio will be affected but no automation
data will be recorded. This can be useful for testing a move without recording a new
Mix/Pass.
Play
A control in Play will replay previously recorded moves.
If a control is moved then the audio will not be affected and no automation data will
be recorded. The control will snap back to the Play Pass position as soon as it is
released.
The Play Pass position (control value) will be displayed in the appropriate alpha
display while the control is touched (eg if a fader is touched, the Play Pass values
will be displayed in the fader strip alpha display until the fader is released,
assuming that Fader Level Indication On Touch is enabled).
Lock Record
A control in Lock Record will play back moves until it is touched, at which point it
will start to Record.
When a control is released it will stay at the current position until either it is moved
again, the system drops out of play, a different automation mode is selected or the
control is glided back to the Play Pass position.
Touch Record
A control in Touch Record will play back moves until it is touched, at which point it
will start to record. The control will snap back to the Play Pass position when it is
released.
The CUT key has two switching levels: the first level (lightly pressed) is used to
detect touch and the second level (fully pressed) toggles the state of the switch.
The ON/OFF keys also operate in this way.
AutoGlide
AutoGlide only works with faders and other continuously variable controls (ie EQ
Level, Gate Attack Time, etc.).
The control will replay moves until it is touched, at which point it will start to
record. The control will glide back to the previous play pass position when it is
released, using the Auto Glide Time.
Switching controls (eg CUT, EQ ON/OFF, etc.) that are put into AutoGlide will
behave as if they are in Touch Record (ie they will snap back to the Play Pass in one
frame). This will happen when they are put into AutoGlide by the Master REC and
GLIDE keys.
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Trim and AutoTrim
This is for Faders only.
The fader will move to the Trim position (by default the centre of the fader travel)
and will start to record on touch. Moves are recorded as an offset from the Play
Pass according to the fader position.
Trim can be applied in the range from +20dB to –20dB. The trim value is shown in
the alpha display.
If the cumulative effect of the Play Pass and trim drops the signal below -102dB
then the signal is cut. For instance, if a particular fader has a Play Pass position of
-85dB, then applying –20dB of trim (or below) will cut the signal.
Coalesce Trim
When faders are automating and in Trim mode, the trim data is saved as an
offset value on top of the fader information. When in Coalesce Trim mode, these
two values are added together making an absolute value, rather than a relative
one.
To activate Coalesce Trim, press the button and the led will light.
This function can be turned off and on at any time during automation.
Keep Desk
Pressing this button updates the static snapshot of all the desk controls in the Mix
Setup. This includes, routing, porting, EQ settings, fader positions etc. The mix
setup is only a static snapshot and pressing this button does not affect the dynamic
automation in any way.
This button will have no function if the mix setup has been made Read Only in
Encore.
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Modifiers to Automation Modes
88D has two extra automation function keys that are used to make two specialised
modifications to the behaviour of the automation system: AUTO TOUCH and TO
END.
Auto Touch
This is used to automatically treat controls as being touched when they are armed.
AUTO TOUCH is switched on in advance of selecting an automation mode. When an
automation mode is selected, all the controls put into the selected mode are treated
as if they had been touched at the same time as the automation mode was
selected.
This is generally most useful with Touch Record and Trim, as arming with other
automation modes will cause the control to immediately snap or glide back to the
Play Pass.
To use Auto Touch with Touch Record press the AUTO TOUCH key, the led above
the key will flash. Put the required controls into Touch Record.
The record indicators that would normally illuminate steady will flash instead. This
is because the controls have been 'touched' at the same time as being armed.
To End
The TO END key is used to force all Recording controls to record their current
values to the end of the Record Pass and then return to being armed.
This will overwrite any subsequent moves that there may be in the Play Pass. This
is useful when the controls that are Recording need to overwrite all subsequent
moves and there is a long time to wait for the end of the Play Pass.
Controls affected by TO END will drop back to being armed (eg if a control is
Recording in Lock Record it will return to being armed for Lock Record).
Timecode can be stopped or other moves can be made after executing TO END.
If ALL/SCOPE is held down when TO END is pressed then the whole Pass will be
overwritten to the beginning of the pass as well as the end. This is useful for
resetting a static value for the entire mix.
To Start
(To be implemented in V2.0 s/w)
This forces a new static value for all controls that are in hard Record from the start
of the mix up to the current point in timecode. This function has no effect when
timecode is not running.
Keep Mix
The Automation can be set to write to the disc every time a Stop is detected in the
timeline, or it can be written to the disc whenever the user decided. When the Keep
Mix button is pressed, any automation held in the RAM of the PC is written to disc
as the next available pass number. The pass number will increase on screen.
Run
Pressing the Run button will open the Automation filing page if automation is
switched off, or temporarily suspend the automation engine if it is switched on.
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Undo
The UNDO button has two functions, depending on whether timecode is running or
not.
•
If timecode is running, pressing UNDO will abort any automation that has been
added since the last time Play was pressed, regardless of whether the Keep mode is
set to Manual or Automatic. All automation will be temporarily suspended. After an
Undo, the timeline must be stopped and restarted before any new automation can
be written.
•
If timecode is stopped (and only if the Keep Mode is set to Manual), then a window
will display all the current automation that is held in the PC memory, with up to 50
levels of Undo.
Collect Touch
Collect Touch Scope is completely separate to Automation Scope, but set in the
same way. The method used to put controls into Collect Touch Scope depends on
the Collect Touch options in Automation Preferences.
To interrogate Collect Touch scope, press and hold the ALL/SCOPE key while
COLLECT TOUCH is active. The mode indicators for all controls in scope will flash
orange.
To clear Collect Touch scope, press and hold ALL/SCOPE while COLLECT TOUCH
is active, and press UNDO, or press COLLECT TOUCH to turn it off (this last option
depends on the Clear Scope/Buffers On Exit option in Automation Preferences,
where the Collect Touch Buffers will also be cleared).
Collect Touch can be used to create an ‘arming group’ for use with the normal
Automation Modes. Everything that is in Collect Touch Scope will be affected by
changing the global automation modes.
To take full advantage of Collect Touch, the Collect Touch Hard Write option should
be checked in Automation Preferences. This allows all controls in Collect Touch
Scope to drop directly into hard record when a Record mode is selected (eg if global
REC is pressed to activate Lock Record, the controls in scope will write automation
data).
It is highly recommended to experiment with Collect Touch, including changing the
Automation Preferences for Collect Touch to get a feel for how it operates. It is
also recommended to leave the Collect Touch preferences at their defaults until a
thorough familiarity is established.
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Using Collect Touch Buffers
The Collect Touch Buffers provide an extra level of control for Collect Touch,
especially for such tasks as scene changes.
Using both buffers is ideal for rapid scene changes. In addition, the buffers allow
new control values to be rehearsed in context without creating a new Record Pass.
The Collect Touch Buffers are controlled by the MASTER TOUCH ISOLATE (for
rehearsing) and MASTER TOUCH RECORD (for writing) buttons.
If the Collect Touch Buffers are disabled then MASTER TOUCH ISOLATE and
MASTER TOUCH RECORD operate identically to ISOL and REC as above.
To set the contents of a buffer, press COLLECT TOUCH and press MASTER
TOUCH ISOLATE. The integral led will flash green.
Press Touch Buffer One or Touch Buffer Two as required, and the integral led
will illuminate red.
Make changes to the settings of required controls. The new settings of all touched
controls will be saved in the selected buffer.
Rehearsing Collect Touch
Put the transport into play.
Toggle MASTER TOUCH ISOLATE on and off as required.
Switch between Touch Buffer One and Touch Buffer Two, and make control
adjustments as required.
Stop the transport and rewind to the beginning of the required section.
To use the buffers to write automation, put the transport into play. Press Touch
Buffer One or Touch Buffer Two as required.
Toggle MASTER TOUCH RECORD on and off as required (when MASTER TOUCH
RECORD is activated, the settings in the selected buffer will be recorded by the
automation system).
Stop the transport (MASTER TOUCH RECORD is turned off automatically when
timecode stops running).
Making a Scene Change
The main strength of Collect Touch lies in making scene changes. These instructions
assume that there does exist automation up to the beginning of a new scene and
that Collect Touch Scope and the Collect Touch Buffers are clear. It is also assumed
that the installation defaults have been used for the Collect Touch options in
Automation Preferences.
Setting and rehearsing the control values
Press COLLECT TOUCH (the integral led will illuminate red).
Press MASTER TOUCH ISOLATE (the integral led will flash green).
Press Touch Buffer One if it is not already selected (The integral led will light red).
Make the required control changes for the scene, and the selected controls will be
added to Collect Touch Scope and their Mode indicators will flash green.
Controls in Collect Touch Scope can be verified by holding down ALL/SCOPE. This
will cause the Mode indicators to flash orange. The new settings for the controls will
be saved in Collect Touch Buffer One.
Put the transport into play for the new scene. Press MASTER TOUCH ISOLATE to
toggle monitoring between the new settings stored in Touch Buffer One and the
settings for the Play Pass.
Make further adjustments to controls as necessary when MASTER TOUCH
ISOLATE is active.
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Extra control values
If another set of control values is required for the scene, these can be stored in
Touch Buffer Two. The Play Pass settings will be used as the starting point, but any
controls that are already in Collect Touch Scope will also be in scope for Buffer Two.
To record the new Mix/Pass, put the transport into play. Press MASTER TOUCH
RECORD to write values in the selected buffer to the Record Pass. MASTER
TOUCH RECORD can be toggled on and off at the punch in and out points and/or
switch between Buffer One and Buffer Two.
Stop the transport.
Using Safety Nets for automatic punch in and out
Rehearse the control settings for the new scene with MASTER TOUCH ISOLATE.
Create labels for the beginning and end of the scene, and rewind the transport to
shortly before the beginning of the scene.
Use Safety Nets in the Automation Menu to set the Safety Net Start and Safety
Net End times, and to activate the Safety Nets. Press MASTER TOUCH RECORD.
Put the transport into play before the beginning of the scene. When timecode
passes the beginning of the Safety Net, the selected controls will automatically drop
into Record and new data will be written to create a new Mix/Pass. This will be
according to the control values stored in Collect Touch Buffer One. You will hear the
effect of this.
When timecode reaches the end of the Safety Net, the controls will revert back to
the Play/Pass values.
Stop the transport.
This has assumed that the new control values are applicable to the whole scene.
Safety Nets can be activated as part of the rehearsal stage to judge the effect of
the automatic punch in and out.
When completed, press COLLECT TOUCH to turn it off. This will clear Collect Touch
Scope and the buffers.
Making a Mix/Pass
The steps required to make a new Mix/Pass are:
•
•
•
•
•
•
•
•
Switch on the Automation System or press the RUN key on the console surface
Start a New Mix/Pass Tree
Move controls to their starting values
Set Automation Modes
Put the System into Play
Make control moves and change Automation Modes as required
Take the System out of Play
Keep the Record Pass
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8 - Snapshots
Snapshots are a way of taking static pictures of all (or some) of the control values
on the surface. It can be set to include all controls available, or reduced in scope to
only one control.
These snapshots can then be recalled to the console surface at any time. You are
physically limited to either 32 snapshots or 100% of the available memory space.
This is shown on the Encore Snapshot screen as a RAM ‘donut’, the red portion
being the amount of memory used.
When Creating (or Recalling) a snapshot, you have to set the scope of controls to
be included – this could be ALL controls, or a selection of them (some controls
cannot be included: Mic Gain, Monitoring functions, Solos, Phase, delay etc).
There are two control scope buffers: one for Create, and another completely
separate one for Recall.
Press the SNAPSHOT button to see the VFD screen split to show two displays:
•
The left hand side shows a list of snapshots already held in memory (if applicable)
•
The right side shows the words CREATE and RECALL.
Press either CREATE or RECALL to put the desk into that mode (or use the Mix
Minus [for CREATE] or MIDI [for RECALL] buttons).
In Create mode, the words Create Snapshot appear on the top right of the VFD
screen. As mentioned above, you first have to set the scope for controls to be
included in the snapshot. Press the ALL/SCOPE button, and now either press:
•
ISOL (to drop all controls from scope – also called Subtractive Scope). All the touch
leds on the AFU will extinguish, and you can now add controls into scope by touching
logicators. The logicator will show red once it is included.
•
REC (to add controls – also called Additive scope). All logicators will now show red,
and it is possible to drop controls from scope by touching them.
Now you have set the scope for the path held in the AFU, you may wish to copy this
scope to other paths. To do this, press and hold the Access key for the AFU fader
on the Master panel (left hand most fader, the led will start to flash). Now press
other Access keys for the paths you wish to copy the scope to. Once the relevant
scope has been set, press ALL/SCOPE again to exit scope mode.
At any time, you can go freely between CREATE or RECALL snapshot modes.
Create Snapshot
Press this text on the VFD and a snapshot will be taken and added into the
snapshot list, being numbered with the next available free number. As the required
information is being gathered, the words CREATE SNAPSHOT will be shown
onscreen in negative (about 1 second). A small window will also open on the Encore
screen allowing you to change this default name if you wish.
Each time you press Create Snapshot on the VFD screen, another snapshot will be
created and added to the list.
Recall Snapshot
If you press Recall Snapshot, this puts the desk into Recall mode, and the words
PRIME and RECALL appear on the VFD screen (this assumes that scope for Recall
has already been set as detailed above).
On the left side of the screen appears the list of all available snapshots. Use the up
and down arrows at the right of the screen to navigate up or down the list, or use
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the 4 buttons to the left of the screen to select any of the 4 snapshots currently
displayed. A highlight bar will appear on the selected snapshot.
•
•
FIRE will fire the selected snapshot immediately at the console.
PRIME looks at the snapshot and does all the relevant maths to change the control
values so that when the snapshot is fired, it is heard on the console immediately.
With particularly large snapshots, it can sometimes take a few frames for an
unprimed snapshot to affect all control values. While the riming process is taking
place, the word PRIME will appear onscreen in negative (for about 1 second), and
when finished, it will display as normal. Once you have primed the snapshot, then
press FIRE as above.
Press CLEAR in the Global section of the console to exit Snapshot mode (or click
Exit on the Encore Snapshot screen).
Even though the Snapshots are held in memory, you will still need to save these as
a file in Encore so they can later be recalled. Please see the Encore Plus manual.
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Appendix: Glossary of Terms
AFU
AFU is an abbreviation of Assignable Facilities Unit. This is an area of the console
that can be used by any signal path to allow adjustment of the signal processing in
the path.
The AFU takes the place of dedicated controls that would normally be on the fader
strips. This means the fader strips can have a minimal set of controls without
affecting the functionality of the console. The console is also very compact
compared to a traditional console design with the same processing capacity.
The AFU provides individual controls for each signal processing function (EQ, filters,
etc.).
Alpha Display
The term alpha, or alpha display, refers to the alphanumeric digital displays used
on the console surface. Alpha displays use led arrays to show text and numbers.
For example the Assignable and Pan Logicators on the fader strips each have an
associated eight character alpha display.
AutEngX
This is part of the Automation system (contraction of Automation Engine X).
Previously, when Automation data was written and the timeline stopped, this data
was stored on the SUN820-200 card (or Trancon cards) and then written to the
console hard drive. This could take up time as the full bandwidth of the
communications was being used when transferring and writing this automation.
Using AutEngX, the data is held in the RAM of the PC and only written to disc at
either user-defined intervals (every X passes) or when the user decides. This
speeds up the response time of the console, and improves Save and Load times.
Automation Mode
This refers to the states of controls that are used to record and re-play control
moves against timecode. The two basic Automation Modes are Record and Play,
and variations on these are used to perform different functions. Controls can also
be in Isolate mode which is used to exclude them from the automation system.
Button
This is used throughout this manual to refer to buttons on the Encore Plus screen
that can be clicked for different functions within dialogue boxes (eg Help buttons).
The only exception is the trackball buttons. This is to avoid confusion with keys on
the console surface. Some people prefer to describe keys on the console surface as
buttons. If you see the term button in this manual it will only refer to the Encore
Plus screen or the trackball.
Check Box
A small box that is clicked to toggle an option on and off. Each click on the box will
switch the box between ticked and un-ticked.
When the box is ticked (ie checked) then the option is enabled.
When the box is un-ticked (ie un-checked) then the option is disabled.
Desk Setup
A Desk Setup is a file that contains the current configuration of the console.
The information stored in a Desk Setup is:
•
The number of signal paths of each type (ie number of Channels, Tracks, Auxes,
etc.)
•
The signal processing allocated to each signal path and the current settings for
processing parameters.
•
The user names for signal paths.
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The internal routing between signal paths (eg which Channels are routed to which
Tracks).
The routing between signal paths and physical inputs and outputs (ie I/O patching).
The assignment of signal paths to the console surface.
The configuration of the PreDubs.
The configuration of the Film Stems (ie which Tracks in which Stems).
Which paths are inhibited from Solo, the automation system, and/or being allocated.
Pan designation of Tracks and mono Groups.
The current configuration of Gangs and Links.
Events
Events are changes to control settings that are recorded against timecode by the
automation system. They are recorded in timecode order to make the Event List.
When a Mix/Pass is played back, it is the settings in the Event List that are used to
automate the controls. Events make up the majority of the data stored by a
Mix/Pass. Individual Events can be manipulated directly using the Event List
functions. Events are also manipulated using the offline automation functions.
Electronic Scribble Strip
The electronic scribble strips are the alpha displays just above the Access keys on
the fader strips that show the name of the path currently assigned to the fader.
They also show the fader level when the fader is touched (dependent on
Preferences).
Encore Plus
Encore Plus is a module within 88D that is used in conjunction with the console
surface to provide functions for configuring and setting up the console, using
snapshots and automating the console. Configuration functions include setting the
tone (slate) frequency and volume, selecting the internal sample rate, deciding how
the solo system operates and so on.
Console set up functions include rapid port routing (similar to using a patch bay
only much faster), setting how many paths of each type are to be used, applying
the same signal processing functions to multiple paths, etc. Snapshots are used to
record the settings of controls for later recall. The number of controls affected by a
Snapshot can be changed with Snapshot Scope. Encore Plus is used to store
multiple lists of Snapshots.
Encore Plus provides management of automation data and a automation functions
such as labelling user selected timecode points, mix conforming and event list
editing.
Function Key
The Function Keys are the row of keys at the top of the Encore keyboard that are
marked F1 to F12, and they act as shortcuts to various functions and menus within
EncorePlus.
A table of these shortcuts is shown in the Encore Plus manual.
Glide
Glide is an automation function. This is when a continuously variable control (fader,
Logicator controlling frequency, etc.) moves or is moved smoothly to match the
Play Pass.
There are three types of Glide: Manual Glide, Auto Glide and Manual Match.
Manual Glide
This is when the GLIDE key for a control is pressed while the control is recording
automation. The control matches back to the play pass using the Manual Glide
time.
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Auto Glide
This is when a control matches back to the play pass automatically when it is
released. The Auto Glide time is used.
Manual Match
This is when the GLIDE key is pressed while a control that is recording automation
is being touched. The alpha associated with the control will display an arrow
indicating the direction to move the control to match to the play pass. The control
will drop out of record when the play pass position is matched.
If the control is released before it is matched, it will remain in position waiting to be
matched. If the play pass goes through the control position then the control will
return to play back. If the transport is stopped before the control is matched then
the control will drop out of record and snap back, the same as any control in record
when transport is stopped.
Icon
An icon is a small picture that represents a function or program that can be
executed. There is usually a small text description that clarifies the operation that
will be initiated by an icon.
There are generally two types of icons: program icons used to start complete
applications, and function icons used to start a function or apply an effect. Program
icons can be found on the Windows XP desktop. Program icons are double-clicked
to start the associated program. For instance, to start Encore it is necessary to
double-click the Encore icon.
Function icons can be found as part of an application. Function icons only need to
be clicked once (single clicked or clicked) to use them. For instance, there is a set
of icons on the right hand side of the main Encore screen and a single click on one
of them will start the relevant function.
Initial Snapshot (ISS)
The Initial Snapshot (ISS) list contains the initial state of all controls which are not
in Isolate when the system is put into Play or which are taken out of Isolate while
the system is in Play. There is also an option in Automation Preferences (First Mode
Change Updates ISS) that will force the Initial Snapshot to be updated with the
current setting for a control when it is taken out of Isolate for the first time.
The Initial Snapshot settings are stored as automation events at the beginning of a
Mix/Pass.
Layers
The concept of layers is used to allow a digital console to control more signal paths
(Channels, Tracks, etc.) than there are fader strips on the control surface.
Switching between layers is instant and reduces the size of a console so that all
controls are in reach all the time.
MADI
Acronym for Multichannel Audio Digital Interface. Up to 48 tracks of digital audio
are sent (Tx) and received (Rx) using a single pair of wires, either using coaxial
cable or optical links.
MIOS
Acronym for Modular Input / Output System.
Each MIOS rack can consist of up to 6 (in total) of the following modules in any
configuration:
•
Mic/Line (4 Mic A, 4 Mic B and 4 Line Input)
•
Input (16 Line Inputs)
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Output (16 Line Outputs)
AES (8 Inputs & 8 Outputs)
The audio from the rack is converted into Madi for handling by the Quad Madi II
card. Each rack has a headphone socket and 2 stereo monitor outputs (as L & R
XLRs.
•
•
Mix/Pass
A Mix/Pass stores the data for one complete automation pass. Each Mix/Pass
contains:
•
An Event List containing an Initial Snapshot (ISS) followed by Automation Events
•
Automation Modes and Automation Scope as they were when timecode stopped at
the end of the pass
•
A Label List
•
A Safety Snapshot
Mix/Pass Tree
Mix/Passes are organised in a Mix/Pass Tree. The Mix/Pass Tree stores the structure
of dependence between Mix/Passes - this means that it shows the order in which
Mix/Passes were created and the lines of revision used to create each Mix/Pass. The
Mix/Pass Tree is displayed graphically so that Mix/Pass dependencies are shown
clearly. A Mix/Pass Tree always starts with Mix/Pass 1.1. A Mix/Pass Tree is
displayed graphically for selecting a Mix/Pass revision as the Play Pass or for editing
the Tree.
MonFac Rack
Shortened form of Monitor Facilities rack. This is hardware that allows the creation,
monitoring and control of (up to) 9-wide film stems.
Pan Designators
A pan designator is used to determine which portion of a panned signal will be
received by a Track (bus) or Group. For example: Channel 1 is routed to Track 1,
Track 2 and some other destinations. Track 1 is pan designated as Mono (ie true
mono) and Track 2 is pan designated as Front Left. Panning of Channel 1 will not
affect Track 1 because it is a true mono destination. However, Track 2 will only
receive the portion of Channel 1 for Front Left, according to the panning on Channel
1.
Mono
This is a normal mono path. The signal received Track or Group will not be affected
by surround panning. A Track designated as Mono would not normally be used in a
Film Stem.
Centre Mono
This causes a Track to act as a normal mono routing destination (ie un-affected by
surround panning), but is routed to the Centre film monitor when used in a stem. If
the Centre Mono designator is used in Surround Sound Manager then the Tracks it
is applied to are auto-routed to the Centre film monitor. This can be applied to
Groups, but only has the same effect as normal Mono.
Left and Right
These are normal stereo left leg and right leg routing destinations. The signal
received by a Track or Group is only affected by left/right panning (ie front/back,
surround left/right and divergence controls have no effect). These should be used
when Stereo is selected for Film paths in the Desk Edit Config page.
Front Centre, Front Left and Front Right
These are the surround destinations corresponding to the front speakers. Front
Centre is often fed directly by dialogue to 'lock' dialogue to the screen.
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Surround Mono
This panning destination has two different uses. In LCRS format, it is the panning
destination for rear surround. In wider formats (5.1 and 7.1) it is the destination
corresponding to the sub-woofer.
Surround Left and Surround Right
These are the panning destinations for the rear left and right speakers. These are
normally only used with the wide formats (5.1 and 7.1).
Surround Centre: This is the rear centre destination (ie opposite front centre) used
by the 6.1 format (also known as Surround EX).
Inner Left and Inner Right
These are panning destinations that sit between Front Left/Front Centre and Front
Right/Front Centre to provide a smoother image across the front. These are
normally only used with 7.1 format.
Path
Path (or signal path) is the term used to describe a discrete part of the signal flow
through the console that has a distinct input and output, either to the outside world
or to another path. In an analogue console, there is a fixed number of signal paths
and they are hard-wired into different parts (or modules) in the console. 88D is a
digital system and this makes it 'assignable'. This means that the number of paths
is not fixed but is selected according to the task in hand. This is done using the
utility called Desk Edit that is part of Encore Plus. The path type indicates the way
that a path is used. For instance, Channels are the main console inputs, similar to
channel modules in an analogue console.
Play Pass
The Play Pass is the Mix/Pass that is being used to play back a previous recording
of automation moves (events). Any Mix/Pass can be selected from the current
Mix/Pass Tree to be the Play Pass.
Processing Element
88D is a digital console that has a certain amount of processing power available.
The processing power is provided by the XSP cards in the System or SPS Rack. The
processing power is assigned in portions according to how the console is configured
for the current session. Each signal path requires a certain amount of processing
power. A signal path can contain audio processing, such as EQ or dynamics, and
this also uses processing power.
A processing element is one of the individual items of audio processing (a gate,
three band equaliser, etc.). The processing elements (and the processing power
required) are assigned (or allocated) to the signal paths in advance of being used.
The system works out how much processing power would be required for the
configuration requested and if there is too much then the excess is rejected.
Anything that applies changes to a signal in a path uses processing.
Quad-Madi II Card
Each Quad-Madi II card has 4 pairs of madi ports, each pair consisting of one
Transmit port (TX) and one Receive port (RX). These pairs of ports are usually
accessed from the back of the SPS rack (or they can be accessed from the front of
the card itself (the upper port in each pair is Tx).
QuadMadi cards bring madi signals into the system and place the data on the
backplane where the XSP cards can access, process, and then return this
information.
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QMII cards are available in three versions, depending on the amount of assignable
delay required (none, 5secs total or 10secs total).
The card is also responsible for:
•
Assigning Delay to a signal, either on Input or Output.
•
Generating most (if not all) of the meter data seen on the meter bridge and
fader beds.
•
Dither on Outputs.
•
The system timing, ensuring all of the XSP processing cards run in sync.
Record Pass
A Record Pass is made when the transport is in play and changes to control values
are recorded against timecode. At least one new automation event must be created
by a control in a record mode. A new Mix/Pass number is created and displayed in
red on the Encore Plus screen.
Routing
This refers to making electronic connections between the different signal paths
within the console. Digital consoles provide routing control that is tailored for
mixing down to surround sound formats in film post-production. In addition,
‘standard’ routing control is provided to give the console maximum flexibility and
allow for non-post production applications.
Safety Snapshot
A record of the settings of all controls that can be automated, regardless of the
automation mode the control is in. A Safety Snapshot is taken when New Mix is
executed and when the system is put into Play. For New Mix, the Safety Snapshot
is stored with Mix/Pass 1.0.
When the system is put into Play, the Safety Snapshot is taken but it is not stored
unless the Mix/Pass is saved after the transport has been stopped.
The Safety Snapshot is stored with a Mix/Pass but separately from the automation
event data.
SPS Rack
The largest rack in the system, responsible for the main audio processing.
Sync Source
This is the source for the word clock synchronisation signal that is used to ensure
that samples of digital audio are sent and received simultaneously by digital audio
devices that are connected together.
Virgin Territory
This is an expression used to describe parts of a Mix/Pass (or a series of
Mix/Passes) for which there is no automation data and no settings in the Initial
Snapshot. 88D takes an Initial Snapshot of all controls that can be automated. This
means that 88D never has virgin territory, so any problems that virgin territory
may cause are prevented.
Word Clock
This is a synchronisation signal that is used by digital audio equipment. Word clock
ensures that the digital audio itself is synchronised so that artefact's such as
distortion, crackle and drop outs do not occur.
For instance, if Libra Post is recording to a digital multi-track tape machine then
they must be synchronised to send and receive
each digital sample of audio simultaneously. If they were not synchronised (out of
phase) then the tape machine would record the samples incorrectly, so that the
recording would not match the output from the console.
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The rate at which word clock is running sets the sample rate (eg 44.1kHz) for the
devices reading the word clock.
This should not be confused with timecode (or timeline) which is used to keep
devices lined up at the same time position.
VFD
Acronym for Vacuum Formed Display. This is the green routing screen on the
Master Panel surrounded by function buttons. The screen has several functions, and
so the function of some of the buttons surrounding the screen changes with the
display.
XSP
Acronym for Xtra Signal Processing. This are the main processing cards in the SPS
rack, and they are responsible for all the Audio and Dynamic processing.
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