Live Recording with M7CL or PM5D via EtherSound

Live Recording with M7CL or PM5D
Via EtherSound
Using Steinberg Cubase 4 or Nuendo 4
Live Recording via EtherSound
Summary:
This guide will show how quick and easy it is to achieve a high quality, live
multi-track recording using a Yamaha digital mixer, an EtherSound equipped
stagebox and a Personal Computer.
With the right selection of interface cards and software, an elegant solution
can be built using just one cable between mixer and stage, and one cable
between stagebox and recorder.
Such a system is ideal for use as a virtual sound-check tool, and to create a
concert archive for later mix-down using Steinberg or other professional
Digital Audio Workstation software.
CONTENTS
Page
Introduction
3
Equipment List
Computer Requirements
3
3
Hardware Setup
EtherSound Network Setup
Mixer Patching
Word clock
4
4
5
5
AVS-ES-Monitor setup
Device List and Names
Network Routing
I/O Patch for MY16-ES64
I/O Patch for NAI48-ES
I/O Patch for SB168-ES
I/O Patch for LX6464ES
Bi-Directional Status
Save to all devices
PC Playback via EtherSound
6
6
7
7
8
9
9
10
10
11
Nuendo 4 / Cubase 4 Setup
Device Setup
Templates
12
12
13
Start Recording
15
Playback
16
Appendix 1
MY-Card setup
Installing the MY-Cards
17
17
18
Appendix 2
Create a new Nuendo / Cubase Template
19
19
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Live Recording via EtherSound
Introduction
The live recording solution outlined in this document actually takes the
recording directly from the stagebox rather than from the mixing console. This
has the following advantages: a shorter set up time; no extra programming
needs to be done on the mixer; any mistakes made by the mixer operator will
not affect the recording.
Using EtherSound provides all the benefits and flexibility of digital networking
such as low cost and low weight cabling, fast setup times, and easy system
expansion. If EtherSound is already being used (or is planned) to link a
stagebox with a mixer, then it is also convenient to use EtherSound for
connecting live recording equipment.
This guide assumes the reader already has a basic knowledge of EtherSound
networking and some experience with “AVS-ES Monitor” software. For more
information about EtherSound, please read Yamaha’s EtherSound Setup
Guide from http://www.yamahaproaudio.com/training/self_training/index.html .
Equipment List
Using EtherSound for multi-track recording makes sense when EtherSound is
already being used as the audio transport between stagebox and mixing
console (or consoles). Adding a computer equipped with an EtherSound card
is a simple matter requiring just one extra CAT5 cable. Assuming the
Yamaha digital mixer is already equipped with EtherSound interface cards,
and the stagebox system also uses EtherSound (such as SB168-ES or
NAI48-ES), here is a list of the necessary extra equipment:
1. Digigram LX6464ES PCI sound card for the computer
2. One PC running Windows XP or Vista (32-bit versions only) with one
free PCI or PCI-X bus slot. Intel or AMD Processor, 2GHz minimum, at
least 1GB RAM, DVD drive, USB port. (Mac operating systems are not
compatible with this Digigram card).
3. Steinberg Cubase 4 or Nuendo 4 software.
4. One CAT5e cable from the last EtherSound device to the PC,
maximum of 100 metres long.
Computer Requirements
It is strongly recommended to use a computer with at least 2GHz processing
speed, and at least 2GB RAM. With regard to disk storage, allow 500MB per
hour for each mono track at an audio quality of 48kHz 24-bit. So for example,
120GB will be able to record 60 tracks for 4 hours. Or for a 2 hour show
consisting of 48 tracks, allow 50GB of storage.
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Live Recording via EtherSound
Hardware Setup
The mixing console (PM5D or M7CL for example) will need to have the
correct MY-cards installed (1x MY16-ES64 plus 2 or 3x MY16-EX), but first
the dip switches on the cards must be set correctly. See Appendix 1 for
information about MY-card installation and setup. The relevant product
manuals will also contain further information.
EtherSound Network Setup
The main reason for selecting an EtherSound sound-card for multi-track
recording is that it integrates well with an existing EtherSound network. A
typical EtherSound network would consist of a daisy-chain starting with the
Front-Of-House console, followed by Monitor console, stagebox and perhaps
output processors. The most logical place for the multi-track recorder is at the
end of the existing daisy-chain (though in some more complicated networks,
this might not be practical).
The following pictures show two typical examples.
M7CL (with MY16-ES64 and 2xMY16-EX cards installed), 3xSB168-ES, LX6464-ES for 48track recording
2xPM5D (with MY16-ES64 and 2xMY16-EX cards installed), NAI48-ES (with 6xAD8HR),
LX6464-ES for 48-track recording
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Live Recording via EtherSound
Digigram’s LX6464ES is the only EtherSound PCI sound-card available for
PC at the time of writing. Follow the simple instructions included with the
product for installation and configuration. They are also available for
download from www.digigram.com .
The sound-card and its drivers should be installed and setup according to the
instructions supplied with the device.
EtherSound is a networking protocol with highly flexible setup options.
Auvitran’s “AVS-ES Monitor” software can be used to configure all the
EtherSound devices in the network. This software is free to download from
www.auvitran.com . Please refer to this software’s manual (also free to
download from this website) for installation and setup instructions.
Yamaha’s EtherSound Setup Guide (free to download from
http://www.yamahaproaudio.com/training/self_training/index.html) also
contains many tips and useful advice regarding EtherSound network design
and management.
Mixer Patching
The mixing console(s) simply need to be patched to receive inputs via the
slots rather than from the internal analogue inputs. The recorder will be able
to receive audio directly from the stagebox, so the mixer does not need to
configure any direct outputs. If the mixer is already setup for use with an
EtherSound stagebox, then it will not require any extra configuring. An
example file for PM5D and M7CL can be downloaded from
http://www.yamahaproaudio.com/training/self_training/index.html .
Word Clock
In an EtherSound network, the Primary Master device (the first EtherSound
device in the daisy-chain) should provide word clock to the rest of the network.
So set the FOH console to run on internal word clock (most likely 48kHz), and
set all other devices to receive clock via EtherSound.
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Live Recording via EtherSound
AVS-ES-Monitor setup
The following information regarding “AVS-ES-Monitor” refers to some
functions introduced with v3.4. It is not recommended to use an earlier
version than this.
Device List and Names
Connect the PC running ES-Monitor to the IN port of the MY16-ES64 card in
the FOH console, and the software should show all the EtherSound devices in
the daisy-chain in its list on the left column.
ES-Monitor: list of connected devices.
It would be convenient to give each device a name, rather than relying on
their MAC address for identification. A name can be typed in the “Properties”
tab of each device.
ES-Monitor: Device Name
Before creating the audio patch for the network, it can be useful to clear all the
current audio routing. To do that, click the red circle with the white “x” icon in
the tool bar.
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Live Recording via EtherSound
ES Monitor: Clear current network routing.
Network Routing
Now the audio routing through the EtherSound network needs to be
considered. In this case, the multi-track recorder can receive audio directly
from the stagebox system, rather than using direct outputs from the mixing
console. The stagebox system can transmit 48 audio channels “downstream”
to the LX6464ES sound card. The stagebox can also “loop-back” these 48
channels “upstream” towards the FOH console. If there is also a Monitor
console, it can take the same audio channels from the “upstream” EtherSound.
In this case, the EtherSound network acts as a three-way split: from stagebox
to both consoles and the recording PC.
EtherSound channels 49-64 are still available to transmit audio from FOH or
Monitor consoles back to the stagebox. Here is a graphical representation of
what will happen:
EtherSound signal flow for recording.
One advantage of placing the Recorder at the end of the daisy-chain is that
when it is not needed, it can simply be removed (or kept powered off). The
“loopback” will occur in the last Stagebox device, and the EtherSound
patching will not need to be changed at all.
I/O Patch for MY16-ES64
To edit the EtherSound patch, view the “I/O Patch” tab in ES-Monitor for one
device at a time. For the MY16-ES64 (in both FOH and Monitor consoles), in
the “Output channel Assignment” box, select “1”, “Up” and click [Start from].
That will set them up to receive EtherSound channels 1-64 from the
Stagebox .
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Live Recording via EtherSound
I/O Patch of MY16-ES64 card inside FOH Console
If required, EtherSound channels 49-64 can be manually patched
“Downstream” (represented by blue triangles) in the “IN>ES” routing graph.
These channels can then be picked up by the Stagebox, and sent to
amplifiers or speaker processors.
I/O Patch for NAI48-ES
Now view the “I/O Patch” tab for the Stagebox system. This will most likely
either be one NAI48-ES or three SB168-ES devices. In the case of NAI48-ES,
in the “Input Channel Assignment” box, select “1”, “Down” and click the [Start
from] button. This will transmit EtherSound channels 1-48 in the
“downstream” direction, towards the Recorder.
I/O Patch of NAI48-ES in the Stagebox system
Also remember to patch the return signals from the FOH (or monitor) console
(in this example, channels 49-64 “downstream” OUT<ES).
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Live Recording via EtherSound
I/O Patch for SB168-ES
When using three units of SB168-ES, each device will transmit sixteen
channels via EtherSound, and receive up to eight. Set the first device to
transmit channels 1-16 “downstream” IN>ES. This can be done by selecting
“1” and “Down” in the “Input Channel Assignment” box, and pressing the [Start
from] button.
I/O Patch of the first SB168-ES device
Then set the return channels from the FOH (or Monitor) mixer: for example,
channels 49-56 “downstream” OUT<ES.
The second SB168-ES should be set to transmit channels 17-32
“downstream” IN>ES, and the third SB168-ES should be set to transmit
channels 33-48 “downstream” IN>ES. Channels 57-64 could be used to
return other “downstream” channels from the mixing console(s) back to the
second or third SB168-ES.
I/O Patch for LX6464ES
Next view the “I/O Patch” for the LX6464ES. In the “Output Channel
Assignment” box, select “1”, “Down”, and click [Start from]. That will allow the
LX6464ES to receive all the EtherSound channels from the Stagebox.
When the PC is needed for playback, the LX6464ES will need to transmit
audio into EtherSound. In the “Input Channel Assignment” box, select “1”,
“Down”, and click [Start from]. This will transmit 64 channels downstream into
EtherSound. Using the “End Loop” function, we can ensure that this playback
audio doesn’t go anywhere until it is needed.
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Live Recording via EtherSound
I/O Patch of LX6464ES for recording
Bi-Directional Status
In the “BiDir Status” box of the I/O Patch window, check that each mixing
console and stagebox device has “Start Loop” off (un-checked) and “End
Loop” enabled (checked). For the LX6464ES, both “Start Loop” and “End
Loop” must be off, to ensure that the audio from the stagebox is looped back
to the mixing consoles.
BiDir Status of LX6464ES for recording
Save to all devices
Once the patching is set, click the “Save to all devices non volatile memory”
icon so that the settings will be memorised by the devices even after they are
powered off. The settings can also be saved as a file on the computer (File
menu, “Save”).
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Live Recording via EtherSound
ES-Monitor: Save to all devices.
PC Playback via EtherSound
For playback from the PC, the LX6464ES can transmit its audio channels
“downstream”, and with “End Loop” enabled they will loopback to reach the
mixing console. The mixing console is already set to receive 48 channels
“upstream”, so its settings don’t need to be changed. The settings for the
stagebox (SB168-ES or NAI48-ES) don’t need to be edited either, because
the channels they transmit will now be overwritten by the LX6464ES.
So switching “End Loop” on/off for the LX6464ES will toggle between
recording and playback modes: with LX6464ES “End Loop” setting off, the
audio from the stagebox will loopback to the mixing consoles; with LX6464ES
“End Loop” setting enabled, the audio from the PC will loopback to the mixing
consoles/
The audio signal flow for the two modes looks like this:
EtherSound signal flow for record and playback modes.
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Live Recording via EtherSound
Nuendo 4 / Cubase 4 Setup
Device Setup
The setup procedures for Nuendo 4 and Cubase 4 are virtually identical. The
pictures in this section are from Nuendo 4.
After starting Nuendo 4 (or Cubase 4), open the “Devices” menu, and select
“Device Setup…”
Click on “VST Audio System” in the left column, and select the correct ASIO
Driver for the sound-card on the right side of the window. For example,
“Digigram ASIO ES” is chosen for the Digigram LX6464ES card.
By highlighting the sound-card’s name in the left column, the device’s control
panel can be accessed with a button to the right. This allows the buffer
settings to be edited. It is advised to use the highest buffer setting possible to
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Live Recording via EtherSound
increase the stability of the recording. This also increases latency, but that is
of no concern if the recording does not need to be monitored in real time.
Digigram LX6464ES settings
Then click [OK] to close the window.
Templates
A Nuendo or Cubase template is a file which contains all relevant set up data
for a project. When opened, it allows the user to instantly start working on a
suitable project without having to configure a long list of settings from different
menus and windows.
A number of templates have been created to accompany this document, for
live recording using Nuendo 4 or Cubase 4 and the Digigram LX6464ES card.
(They are free to download from
http://www.yamahaproaudio.com/training/self_training/index.html). There are
templates for 48-track and 64-track recording. Each one will record 48kHz
24-bit “Wave 64” files. (The “Wave 64” format is able to cope with recording
over long periods of time, creating large file sizes). This audio file type is easy
to transfer between Cubase and Nuendo projects. The file format may need
to be changed to allow compatibility with other audio editing software. More
details are included in Appendix 2.
A method for creating a new template is outlined in Appendix 2. Here follows
the procedure for opening an existing template:
Paste the required Nuendo 4 templates to the following folder,
depending on your operating system:
a. Windows XP:
C:\Documents and Settings\<user name>\Application
Data\Steinberg\Nuendo 4\templates
b. Windows Vista:
C:\Users\<user name>\AppData\Roaming\Steinberg\Nuendo
4\templates
c. Apple Mac OSX:
Users/<user name>/Library/Preferences/Nuendo 4/templates
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Live Recording via EtherSound
The Cubase 4 templates should be pasted to a similar location, but in
the “Cubase 4\Templates” folder instead.
To open a template in Cubase 4 or Nuendo 4, open the File menu and select
“New Project”. Then select the required template from the list. Easy!
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Live Recording via EtherSound
Start Recording
This procedure is the same for Nuendo 4 and Cubase 4. The pictures below
show Nuendo 4, but the operation of Cubase 4 is almost identical. To prepare
for recording, switch on the “Monitor” function for the main folder. This will
turn the speaker icons orange for all the tracks. Then click on the “Record
Enable” button for the folder, so all the “Record Enable” buttons turn red.
Then, to start recording, click on the “Transport Record” button in the toolbar.
To stop recording, press the [Space] bar on the keyboard (or click the “Stop”
button in the Transport area of the toolbar. Then save the project (select
“Save” in the File menu).
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Live Recording via EtherSound
Playback
Move the play-marker to the required position by clicking in the “time-line”.
Then click the “Play” transport button (or press the [Space] bar).
And enable “End Loop” for the LX6464ES (as described on page 11), to
ensure that the PC (rather than the stagebox) transmits its audio channels to
the mixers.
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Live Recording via EtherSound
Appendix 1
MY-Card Setup
Before inserting the MY-cards into the mixing console, some switches need to
be configured as follows:
MY16-ES64 (EtherSound Master Card):
1. Switch 1 will not affect the set up of live recording. Typically it should be
set to “422” to allow remote control of AD8HR and SB168-ES from the
mixer.
2. Set switch 2 to match the sampling frequency of the console. It must be
“48K” with the M7CL.
3. Switch 3 must be set to “Emu”.
4. Switch 4 should be set to “OnChip”.
5. Switch 5 should never be changed: it should be permanently “OFF”.
MY16-EX (Slave Card):
1. Up to three slave cards will be used.
2. Switch 1 for the first card (handling channels 17-32) should be set to “1”.
3. Switch 1 for the second card (handling channels 33-48) should be set to
“2”.
4. Switch 1 for the third card (handling channels 49-64) should be set to “3”.
5. Switch 2 for all the cards should be set to the same position as switch 2 on
the Master Card (“48K” when used with M7CL).
6. Switch 3 should be set to “Emu”.
7. Switch 4 should never be changed. They should be permanently OFF”.
For more details, see the product manuals.
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Live Recording via EtherSound
Installing the MY-Cards
The Master card should be placed into Slot 1, the first slave card into slot 2,
the second slave card into slot 3, and the third slave card (if applicable) into
slot 4. Short CAT5e cables (up to 3 metres long) should be used to connect
the slave cards as shown below:
M7CL rear panel.
PM5D-RH rear panel.
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Live Recording via EtherSound
Appendix 2
Create a new Nuendo / Cubase Template
If you are using a different sound-card, or want to configure the project
differently, it is possible to make a new Template. This procedure is the same
for Cubase 4 and Nuendo 4. (The pictures in this section are from Cubase 4).
Open the File menu and select “New Project”. If the Templates window opens,
select “Empty” and click [OK]. Browse for a folder to save the audio and data
files.
Go to the Devices menu and select “VST Connections”.
Select the “Inputs” tab and delete any buses that are shown: right-click on
their name and select “Remove Bus”. Then click the [Add Bus] button and
select 64 mono buses (or as many as are required) and click [OK].
Do the same for the “Outputs”:
The VST Connections window can now be closed.
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Live Recording via EtherSound
Open the “Project” menu and select “Project Setup…”
Select the length of the project (for example, 2 hours and 30 minutes).
Select the sample rate and record format (48kHz, 24-bit in this example), and
the record file type (this selection is important if the recording needs to be
compatible with other audio editing software: both “Broadcast Wave File” and
“AIFF File” types can be imported into Pro Tools for example). Then click
[OK] to close the window.
Back in the “Project” menu, select “Add Track” and then “Folder”.
And now in the “Project” menu, select “Add Track” followed by “Audio”.
Choose 64 Mono tracks (or as many as are needed), and click [OK].
Now all the audio tracks need to be moved into the folder so that they can all
be controlled together: click on the first track (called “Audio 01” by default),
then scroll down to the bottom, hold [Shift] and click on the last track. All the
audio tracks should now be highlighted. Scroll back up to the top, then clickand-drag “Audio 01” into the folder. It should temporarily show a green arrow,
and all the other tracks will follow into the folder.
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Live Recording via EtherSound
Next each track needs to be assigned an input and an output from the bus list
created in the “VST Connections” window. Obviously it makes sense to
assign “Mono In 1” and “Mono Out 1” to track 1, “Mono In 2” and “Mono Out 2”
to track 2 and so on… These assignments can be made in the left column of
the project window when the “Show Inspector” button is enabled.
It will take a while to assign all 64 tracks, selecting each in turn, but it only
needs to be done one time. Once completed, a “template” can be saved for
future projects.
To save a project template, open the “File” menu and select “Save as
Template…” then type a name and click [OK]. Then this template can be
selected whenever a new project is created, to instantly be ready to start
recording.
21
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