d8 cover pages
D-8 Digital Control Surface
600 Industrial Drive, New Bern, North Carolina, USA 28562
General Information
The D-8 Digital Audio Control Surface is a member of Wheatstone’s line of D-series
control surfaces with the functions and control capabilities required by television broadcast facilities, including plenty of output mixes:
2 main mix buses - one may be configured for 5.1 digital surround
4 stereo subgroup mixes
2 stereo auxiliary sends
8 mono Mix-Minus outputs
24 mono Bus-Minus or direct outputs
4 mute groups
The intuitive input fader section provides LED indicators for all bus assignments for
“at a glance” confirmation of main bus and Mix-Minus assignments. Above each fader on
the input panel is a channel ON switch, 8-character backlit LCD source display, PFL
switch, BUS-MINUS TB switch, eight Mix-Minus and four subgroup assignment LED’s,
two lighted stereo bus assign switches, four mute group status LED’s, two AUX Send
encoders with ON switches, and a SET switch. The SET switch provides instant access to
the integrated touch screen monitor for comprehensive input channel control including
EQ, filters, compressor/limiter, expander, and surround panning.
The Master output control panel provides group bus and master output faders, mute
group control, and talkback functions. Integrated on the output panels are central shared
controls for assigning input faders to group, Mix-Minus, and mute group buses. The
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Monitor Control panel features three monitor output level controls with source
displays and studio talkback, an event recall system (with security function), and
an array of user-programmable switches.
Designed to integrate flawlessly with the Wheatstone BRIDGE digital audio
network router, the D-8 control surface allows you to easily create large or small
expandable platform-based systems that are exceptionally user-friendly. Wheatstone BRIDGE network cages house all I/O ports and engine cards, and may be
wired in tandem within a single equipment room or interconnected to separate
remote locations by means of CAT-5 cables or fiber to provide single wire studio
integration schemes.
Once configured, the system operates entirely independently of external
computers. Configuration itself is intuitive and customized onsite by means of
user-friendly graphical interfaces provided by Wheatstone desktop software. The
D-8 surface also takes full advantage of Wheatstone’s exclusive VDip configuration software, so that studio functions (like mutes, fader and timer starts, tallies,
etc.) are easily configured right at your desktop. All settings are retained in nonvolatile storage, allowing the entire system to run independently.
All D-8 surfaces have a built in automation control Interface which enables
external control of many D-8 surface functions by popular video automation
systems over an Ethernet network. Our Translator desktop software adds another
level of flexibility by integrating house router crosspoint control with the D-8
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Control Surface Placement
The D-8 digital audio control surface is designed for leg set or countertop
mounting. Leg set assembly instructions are included with the optional leg set.
Although the rubber feet on the bottom keep the surface from being easily moved
when simply placed on the counter, holes have been provided so that screws may be
used to mount the surface securely to the countertop. Carefully remove the appropriate
end panels from the frame, screw the mainframe to the counter top, and reinstall the
removed panels. The frame dimensions (in inches) are shown in the drawings below.
Do not connect the D-8 control surface to its power supply until the surface is
installed or mounted on the leg set. Never connect the power supply to the AC power
line unless the surface’s 5-pin D-SUB DC power cable is securely connected first.
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6 HOLES, D=0.2";
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Input Panel (IP-D8)
Controls and Functions
Each input panel of the D-8 digital audio control
surface has four identical strips representing four
input channels. The D-8 provides two methods for
changing parameters on a fader strip. The majority of
functions are accessed from the touch screen VGA
monitor (see Chapter 6 for details). A small number of
functions are directly accessed using hardware switches
and pots located on the surface. Most users will use a
combination of both methods in day-to-day operation.
Note that the Input fader strip has a minimum
number of physical controls, and certain bus assignment buttons located on the MASTER output and
MONITOR panels are shared among all input faders.
Input Sources
Each input fader panel is fitted with four faders.
Mono, Stereo, or 5.1 Sources can be routed to the fader
from any cage in the system. Note that certain fader
positions may be dedicated to 5.1 sources as denoted
by the “5.1” label on the fader knob. To select the
desired input source, first press the channel’s SET
button or click on the fader’s number in the Input
Selector Bar at the bottom of the VGA monitor. By
turning the SOURCE SELECT knob (on the MON-D8
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MON-D8 Panel
panel), the available inputs are displayed in the
fader’s 8-character SOURCE display. When
the desired input source is scrolled into the
SOURCE window, pressing the TAKE button
(on the MON-D8 panel) will cause that source
to be switched to the input of the channel, and
the source name will be displayed in the
SOURCE window.
SET Button
The SET button is located at the top of each fader strip and forces the focus
of the VGA to the selected input fader strip. This allows the operator to access
various controls and displays in the MON-D8 panel and apply them to the
selected channel. To use, press the SET button and then make your appropriate section settings in other areas of the control surface. Once a SET button
has been pressed, the button lights up, and all setting changes will apply to that
input channel until a different input SET button is pressed. The SET function
may be configured in the Options.txt file (see Appendix 1) to automatically
timeout after 20 seconds.
Each channel of the input panel has two AUX send knobs (AUX 1 and
AUX 2) to set the level of the channel’s audio in the AUX SENDS. Two
switches (ON 1 and ON 2), determine whether the channel feeds AUX 1
(ON 1) and/or AUX 2 (ON 2). Aux sends may be pre-configured in the
Options.txt file to be tapped pre or post fader. See the User Programming
section in the Appendix 2 of this manual for details.
Mute Assign Displays
Each fader can be assigned in any combination to MUTE MASTER A, B,
C, or D by pressing the fader’s SET button, then selecting the desired INPUT
CHANNEL MUTE ASSIGN switch located at the top of the MASTER fader
panel. The MUTE indicator LED’s on the fader strip will light solid to indicate
the assignment and flash slowly when muted. Any channel that is assigned to
a MUTE MASTER will be muted when the corresponding MUTE MASTER
is activated. Mute masters are useful for turning several microphone faders
Off with a single button press - like when going to a break.
ASSIGN Switches - 5.1/ST 1 and ST 2
ASSIGN buttons assign the input channel signal to the two main buses:
5.1 (surround)/ST 1 (stereo 1) and ST 2 (stereo 2), respectively. The buttons
light up to show which buses the input channel has been assigned to. Note that
the 5.1/ST 1 switch routes to the first master bus. This master bus has been preconfigured to be a surround bus or stereo bus; it is not two separate buses.
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GROUP Assign Displays
These four LED indicators (GROUP) show which audio group(s) the
channel has been assigned to using control switches in the GROUP ASSIGN
section of the MST-D8 panel (page 4-3). To assign an input fader to a GROUP,
first press the INPUT fader’s SET switch, then press the appropriate Group
assign switch at the top of the MASTER fader panel.
MXM Displays
Each fader can be assigned to any combination of the eight Mix-Minus
buses. The assigned settings are displayed in the MXM 1-8 LED displays.
Faders are assigned to these MXMs by using the
touch screen GUI on the VGA monitor (see
Chapter 6 for details) or using the hardware
switches located on the MON-D8 panel. On the
GUI press the MIX MINUS button at the top of
the VGA monitor. Use the MXM Matrix to select
the desired input fader and then press the desired
MIX-MINUS ASSIGN button, located on the
MON-D8 panel. When you light one of these
MON-D8 Panel
LED’s you are removing the fader from the
Mix-Minus bus.
PFL(CUE) Switch
The CUE switch lets the control surface operator monitor the channel’s
pre-fader signal.
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Bus-Minus Outputs
Each fader has a special dedicated output for IFB, Mix-Minus, or Direct
feeds - these outputs are collectively known Bus-Minus. These monaural
audio output signals may be freely routed to feed telephone hybrids, ISDN
interfaces, recording feeds, or other devices as required. Note that Bus-Minus
is a separate system from the dedicated eight Mix-Minus buses.
What appears at the Bus-Minus output for a fader is determined by how
you configure the Bus-Minus output on the D-8 Input screen for your fader.
In a typical application like feeding a TV remote, one might configure the
remote talent’s Bus-Minus output to include a base mix of the board’s main
program output bus (say ST 1) minus the remote talent’s fader. Many other
Bus-Minus configurations are easily configured, including direct outs for
You can control and meter the output level of any Bus-Minus output by
switching to the Input screen for your fader or navigating to the main BUS
MINUS screen. You can always press the SET button on the fader strip to
cause the VGA monitor to switch to that fader’s Input Screen. Click on the
main BUS MINUS navigation button on the top of the VGA to see all 24 bus
minus outputs at once (see Chapter 6 for details).
Bus-Minus Routing
Bus-Minus outputs for each surface fader appear as Sources in the
Surface signal area of XPoint, typically located above source signal ID1001.
A typical Bus-Minus output signal name is in the D1BM01 through D1BM24
range; however, the exact name depends on the fader and surface ID number.
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Bus-Minus TB Switch
The BUS MINUS TB switch routes the TB BUS audio, typically the
operator’s intercom microphone, to the Bus-Minus output for that channel, allowing the operator to talkback to the talent hearing that Bus-Minus
Channel ON Switch
The channel ON switch turns the channel signal ON and OFF and fires
the channel ON(START)/OFF(STOP) logic. The switch LED lights to
indicate the channel is ON. Channel ON may be remotely controlled by a
physical GPI or by external automation via the surface’s TCP/IP control
Channel output level is set by a long-throw motorized fader for
automated level control.
NOTE that input channels configured for 5.1 sources have fader knobs
engraved with “5.1.”
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Monitor Panel (MON-D8)
Controls and Functions
The D-8 digital audio control surface is equipped
with one MONITOR panel. This panel provides
speaker volume controls for the audio CR, two
studios, and a PFL speaker. Also included are
master volume controls for the Aux Sends, MXM
outputs, and Talkback level. Other functions include an Event snapshot store/recall system, six
programmable buttons, and a universal Source
selector knob.
Monitor Speaker Controls
There are three monitor outputs available: CONTROL ROOM, STUDIO 1, and STUDIO 2.
Each monitor has a LEVEL control, a SET
button, and a SOURCE display, located at the
bottom section of the MON-D8 panel. There are
also TB buttons to talkback to the two STUDIO
A “soft” MODE selector is located on the MAIN
screen that allows users to switch between SURROUND, STEREO, MONO, LEFT only, and
RIGHT only modes.
Monitor sources can be selected using the
MONITOR MIX PRESETS buttons located directly above the Control Room knob or by scrolling
the list of available sources using the SOURCE
SELECT knob.
Selecting Monitor Sources
• Press the SET button right next to the CONTROL
ROOM or STUDIO knob.
• Press one of the MONITOR MIX PRESETS
buttons to select MAIN, ST 2, or one of two
programmable sources.
• Sources can be randomly selected with the
SOURCE SELECT knob and the TAKE button
located just above the MONITOR MIX PRESETS buttons. First, press the SET button for the
monitor pot you’d like to change the source on,
then use the SOURCE SELECT knob to dial up
the desired signal. Press TAKE next to the
SOURCE SELECT knob to complete the route.
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Using the MODE Selector
On the far top left section of the MAIN touch
screen is a MODE selector. Access this selector
by pressing a monitor’s SET button on the Monitor panel, or pressing a button below the CR,
ST1, or ST2 meters on the MAIN touch screen.
When switching modes, note that the CR can be set to Surround only if preconfigured as a 5.1 output. Studio outputs are typically configured as Stereo.
When SURROUND is selected for the CR, mono mixes or Sources will be routed
to the CENTER channel.
Programmable Presets
The last two MONITOR MIX PRESETS buttons are user programmable. These
may be loaded with commonly used sources like AIR, Tuner, etc. To program a button,
decide on the source you want that button to represent. If the source in question is not
currently assigned to one of the monitors, make the assignment now, as described above.
Next, make sure the SET button on the monitor to which the source in question is
assigned is lit. Then press and hold the programmable button for three seconds. The new
source is now loaded into the button. Confirm the source storage by switching through
Studio Output Functions
Studio Outputs have extra functionality that must be programmed using the XPoint
software. In most installations, a STUDIO output is programmed to MUTE whenever
a D-8 fader controlling a microphone in the corresponding Studio is turned ON. Logic
output ports may also be programmed to drive an ON AIR light whenever one of these
microphones is turned ON. Please refer to the User Programming in the Appendix 2
of this manual for details.
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TALKBACK (TB) BUTTON - There may be times when
the control surface operator wishes to talk to the Studio floor
through the studio speakers. When the TB button in the studio
monitor section is pressed, a predefined signal, usually the
operator’s intercom mic, will “interrupt” the speaker feed that
is normally heard in the studio.
The TB source signal can be any source on the Wheatstone
router. You must route the desired source to the D1TBk signal
using XPoint.
If there is a live mic in the studio which has activated the mute feature, talkback
will also be muted in the speakers. Below the top-center of the MON-D8 panel is the
TB master level control that sets the talkback output and the level of the talkback
interrupt signal.
CUE/PFL Section
The CUE/PFL master level control is located in the center section of the MOND8 panel. The CUE/PFL signal is pre-fader, and is normally used to check signal
integrity. When a channel is CUE’d, its pre-fader signal will appear in the surface’s
D1PFL mix, and the switched meter array on the MAIN screen will show the level
of the pre-fader signal.
The CUE/PFL level control determines the overall loudness of the cue signal.
Engineering Notes
There are two ways to listen to the PFL mix. Most users will route the D1PFL
mix to a stereo or mono analog output that is connected to dedicated PFL speakers.
Alternatively, you can program the CR or Studio outputs to interrupt whenever a
PFL switch is engaged. Programming is done by editing the CUE interrupt section
of a text file called D8_opts.txt. The file is located on the D8’s internal flash hard
disk. Access the file by FTP’ing to the surface, as described in Appendix 1.
Similar to the control room speakers, the cue speaker also has the potential for
feedback and should be muted (using the configuration software—VDIP menu)
whenever the control room speakers are muted.
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Switched Meters Section
The control surface has provision for
a switched meter.
To select a signal to meter, first press
the SET button, then rotate the encoder
SOURCE SELECT. Available sources
will be displayed in the eight character METER display. When the desired signal is
displayed, press the TAKE button. The switched meter array will then display the signal
level. If, however, after a timeout period of 20 seconds, the TAKE
button is not pressed, the array will revert back to its previous selected
AUX Master Outputs
MASTERS controls AUX 1 and AUX 2 are provided at the top of
the MON-D8 panel to set the output levels of AUX sends 1 and 2,
Mix-Minus Master
This section is a secondary way to control
the MIX-MINUS MASTER level for each of
the eight Mix-Minus outputs. Double-tap the
MXM MASTER knob, then press a MIXMINUS ASSIGN button. The assign button
will flash and any other assign button may be
pressed. Rotate the MIX-MINUS MASTER
control to set the output level for that
Note that you can use the touch screen sliders on the MIX MINUS screen to set MXM
master output levels.
Mix-Minus Assign
These buttons are used to assign/de-assign input faders to the eight Mix-Minus buses.
The D-8 is configured so that when you light a MXM assign switch the audio on the
fader is removed from the Mix-Minus bus. This method makes it very easy to see which
MXM output a particular fader is using and prevents clutter LED’s on the input fader
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panels and the MIX MINUS screen.
Press the SET button on any input fader channel. When a fader is assigned to
feed a Mix-Minus bus, the corresponding MIX-MINUS ASSIGN switch will be
lit on the input channel strip. Pressing a MIX-MINUS ASSIGN switch will toggle
that channel’s signal into or out of the corresponding Mix-Minus bus.
Note that you can use the touch screen grid on the MIX MINUS screen to view
and set Mix-Minus assignments.
Mix-Minus Talkback
To interrupt a Mix-Minus output with the predefined TB
signal, press any of the eight MIX-MINUS TALKBACK momentary switches. The talkback signal - TB - may be any audio
source on the router. Please see the Talkback discussion earlier
in this section.
The two switches labeled “SETTINGS” and “BUS-” act as
hot buttons to switch between the Input settings and BUS
MINUS screens.
CONF Button
Pressing the CONF button activates the D-8’s Confidence
Feed function and lights the LED. Confidence feed automatically replaces mix-minus output audio with a user defined
source during commercial breaks. Please see details below.
What is Confidence Feed?
Confidence feed is a way to automatically replace the normal Mix-Minus audio
heard by talent in the field with master control audio when your station goes into
a commercial break. When you return from break, confidence feed is automatically turned off and normal Mix-Minus is fed out.
The confidence feed audio source is usually your master control or “air” feed,
but it can be any source on the router. Confidence audio is patched in XPoint
software by cross connecting the desired source signal to the D-8’s DxCFD
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destination signal. When CONF is activated a confidence source name box in the upper right hand corner
of the VGA monitor will also begin to “wink” slowly.
This function may also be remotely controlled with a
tally relay from master control. Please see the User
Programming note in the Appendix 2 section of this
manual for details.
Event Controller Section
This section provides a means
for storage and retrieval of control
surface settings, and naming those
settings as “Events.” In this manner
complete configuration and setting
information that is used repeatedly
(for example, “6PM News”) can be
saved and recalled. Up to 100 different events can be stored.
Storing an Event
When an event is stored, all of the control surface’s current settings are saved and
will be recalled when that event is executed through the TAKE command. To create
a new event from current control surface settings, hit the NEW button, and then hit the
SAVE button. To overwrite an existing event with the current settings, turn the
PREVIEW SCROLL knob until the desired event is displayed in the PROGRAM/
PREVIEW window, then quickly press MODIFY, then SAVE.
Taking an Event
Rotate the PREVIEW SCROLL encoder until the desired event is shown in the
PROGRAM/PREVIEW display. To prevent accidental takes, the ARM button must
be pressed to arm the function. The TAKE button will now flash indicating that the
panel is ready to act on a take. Then press the TAKE button to execute the EVENT.
Undoing an Event
To recover from a premature or erroneous EVENT take, press the ARM and
UNDO buttons. This will return the system to its status prior to the last take, with the
last program event being once again the current program event, and the last preview
event (the one just taken) becoming the preview event once again. There is only one
level of undo. If undo has been done and a subsequent take has not been done, pressing
the undo function again will do nothing.
Modifying the Currently Selected Event
It is presumed an event has already been executed on the control surface.
Modifications to that event can be accomplished by simply adjusting the controls and
switches as desired and then pressing the MODIFY button, then the SAVE button. In
this way the modified event will overwrite the old event setting and be saved, with the
same name, in its place.
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Deleting an Event
encoder until the Event to be deleted
is shown in the PROGRAM/PREVIEW display. Press the Modify
button, then press the PREVIEW
SCROLL knob; the display will ask
“DELETE?” Press the TAKE button to delete the previously displayed
Event. Do nothing and Delete mode will time out after approximately 7 seconds.
Deleted Events may NOT be restored.
Previewing an Event
Rotate the PREVIEW SCROLL encoder (push knob in while rotating for faster
scrolling) and available EVENT names will be shown in the 8-character PROGRAM/PREVIEW display. When the desired event is shown in the display, press
the ARM button, then press the PREVIEW button. This will cause the entire
control surface to display all settings associated with that event, without disturbing
the current operative event. The preview status will be indicated by illumination
of the PREVIEW button and flashing of all source and destination displays, to
remind the operator that these would be the intended settings when the change is
made. Pressing the PREVIEW button a second time will cancel the preview. It
should be noted that no audio signals are changed in any way by the preview
Event Default Button
This control allows rapid access to a default or home control surface setting.
Push it, and the TAKE button in the Preview section will flash. Hit the TAKE
button and the default setting will be executed.
Establishing the Default Setting
This setting would normally be set only once. For example, it may be desirable
to have all controls set to zero, or everything programmed to typical nominal
settings. To establish the default setting, adjust all the control surface controls to
their desired settings, press the MODIFY button, and then the DEFAULT button.
The default setting is stored.
Naming an Event
When events are saved, they receive a default event designation number. This
way events can be saved quickly without having to name them. However, an event
may be custom named when saved, or at a later time. To rename the displayed
event, press the ALPHA SCROLL knob. The CURSOR LT and CURSOR RT
buttons will light and the cursor, indicated by a flashing character, will be at the
beginning of the name. Also, the SAVE button will begin to flash. At any time you
can use CURSOR LT and CURSOR RT to move to a character you want to change.
Once the cursor is at the desired character, rotate the ALPHA SCROLL encoder
until the desired new character is displayed. Once all desired characters have been
changed, simply press SAVE to save your changes. The event is stored with the
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desired name. At any time you can cancel the name edit by pressing the ALPHA
SCROLL knob. Also, if you stop making name changes but fail to press the
SAVE button, the name edit process will automatically cancel after a delay of
about 10 seconds.
Control Modes and Log In Levels
The D-8 control surface is operated in one of three modes. In Administrator
mode access is allowed to all surface functions. In User mode a limited set of user
functions is allowed. The set of functions allowed in User mode is set independently for each console using the Bridge XPoint software (see the Bridge Router
manual for details). The third mode, Guest, blocks out Mix-Minus assign, Event
takes, Event saves, and visibility changes from being controlled by the surface.
To change the control mode, begin
by pressing and holding the SOURCE
SELECT knob until the display reads
“Admin” and the TAKE button lights (if
the surface is currently in Admin mode
the SET button will also light). Turn
SOURCE SELECT until the desired new
mode (Admin, User, or Guest) is showing in the display and press TAKE. Turn
SOURCE SELECT again to select the first digit of the password. Default
passwords, which may be changed in XPoint, are “1234” for Admin, “2222” for
User, and “0000” for Guest. After dialing up the first character of the password,
press TAKE. Then dial up the second digit. Continue this procedure until the four
characters have been entered. Upon pressing TAKE after entering the fourth
character, the display will read “Okay...” if you were successful and “Sorry...”
if you were not. When finished, turn SOURCE SELECT until the display reads
“<<Exit” and press TAKE to finish the mode select operation.
The SET button lights as you select the mode that the surface is currently in.
If you press TAKE when displaying the current mode, the display will switch to
“Okay...” and you will not need to enter the password. If you stop partway
through the procedure, the mode selection process will time out after about 15
Once a given control mode is selected for a surface, that setting will persist
through a power cycle or surface reset.
Programmable Buttons
These six (6) momentary switches and
indicating LEDs are designed for user accessible external functions (GPI/GPOs). With
these switches the user can fire Salvos or
make a temporary crosspoint without having
to wire any physical logic ports. These
switches may also be mapped to control physical Logic card output ports, and the
LEDs on the Spare buttons may also be lit by a remote device connected to a
Logic card input port. See the User Programming section in the Appendix 2 of
this manual for details.
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Master Panel (MST-D8)
Controls and Functions
The D-8 digital audio control surface is equipped with
one MASTER panel. The lower half of this panel provides
fader control of the two master program outputs and four
group outputs. The top section’s assign switches work in
conjunction with the Input fader’s SET buttons to assign
Input faders to the A-B-C-D MUTE assign and to the four
audio Groups G1-G2-G3-G4. Rounding out the panel are
talkback switches to the AUX Sends and the four MUTE
MASTER switches.
Input Channel Assign Buttons
At the top of the MASTER panel are two sets of buttons
that only work whenever an input fader’s SET button is
pressed. These are the A-B-C-D Mute Assigns and the
G1-G2-G3-G4 Group Assign switches.
Mapping an Input Fader to a Mute Group
To map an input fader to a MUTE GROUP, first press
the input fader’s SET switch, then select the desired
Routing an Input Fader to an Audio Group
To route an input fader to an audio GROUP, first press
the input fader’s SET switch, then select the desired
AUX Talkback
Below and to the right of the Input Channel Group
Assign switches are two talkback buttons. Pressing the
AUX 1 TB button will interrupt the AUX 1 output with the
predefined TB signal. AUX 2 TB works in a similar
manner. Please refer to the Talkback section in the Monitor
Panel chapter of this manual for details on configuring
SET Buttons
Like the SET button on input fader strips, the MASTER
and GROUP SET buttons are used to access other controls
and apply their settings to the selected output mix. The
masters may have their MODE settings changed and may
be assigned to MUTE MASTERS A, B, C, and/or D.
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Master and Group SET buttons are located in the upper portion of the panel.
Groups may be assigned to Mix-Minus buses too.
Pressing a MASTER or GROUP SET button will cause the D-8’s VGA
screen to switch to the MAIN screen and display the output meters.
Master Program Outputs
Input Fader Assign to Masters
Input faders are routed to either master audio
output by using the MASTER ASSIGN switches
located directly on the input fader strips. You may
freely assign any input fader to either the 5.1/ST 1 or
ST 2 master audio outputs, or even to both.
Channel Master ON/OFF
The ON switch turns the channel signal ON;
pressing it again turns the channel signal OFF. The
switch LED lights to indicate the channel is ON.
Master Faders
These motorized controls set the levels of the
master channels.
NOTE that 5.1 MASTER fader’s knob engraved
with “5.1.”
Mute Groups
Mute Group Assign
Each input fader, Group, and Master can be assigned in any combination to MUTE ASSIGN A, B,
C or D. Assignment is made by first pressing the
channel’s SET button, then pressing the desired
at the top of the MASTERS panel. Indicators on the
input panels show the mute assignments.
Mute Master
The MUTE MASTERS A, B, C and D buttons
provide a rapid way to mute a group of signals. When
MUTE MASTERS A is engaged (the button is lit) all
channels that have been assigned to MUTE MASTERS A, as indicated by the MUTES display on each
input channel, will mute. MUTE MASTERS B, C,
and D work in a similar manner.
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Audio Group Outputs
The four audio groups G1-G4 operate in stereo mode and may
be assigned to one or both of the MASTER output busses. Use the
GROUP SET buttons to assign the GROUP to a MUTE GROUP
or Mix-Minus bus. Pressing a GROUP SET button switches the
VGA monitor to the MAIN screen.
Group Assign Buttons
INPUT CHANNEL GROUP ASSIGN buttons located at the
top of the MASTER panel are used to assign input faders to the
Groups. Press SET on the input, then press any desired GROUP
ASSIGN button(s). Assignment for the channel with its SET
currently active are indicated by the lighting of the four INPUT
CHANNEL GROUP ASSIGN buttons, while the GROUP displays on each channel show that channel’s group assignment
whether its SET is active or not.
Group Assign to Masters
Each Group has two GROUP ASSIGN switches located in the
center of the MASTERS panel which are used to assign the Group
mix to either (or both) of the two main output busses - 5.1/ST 1 or
ST 2. Each switch’s LED will light to indicate assignment is made.
Groups may be used to control the level of several common
signals (e.g. band mics, round table mics, etc.). That GROUP
signal is then routed to the main program mix out of the board via
the switches described in this section. Microphones or other
sources that are assigned to a Group are usually NOT assigned
directly to a MASTER fader.
Group Talkback
Pressing a G1-G2-G3-G4 TB button will interrupt the group
output with the predefined TB signal.
The ON switch turns the group channel signal ON, pressing it
again turns the Group channel signal OFF. The switch LED lights
when the Group is ON.
These switches let the control surface operator monitor the
Group’s pre-fader signal.
Group Faders
These motorized controls set the output levels of the audio
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Group Destination Routing
GROUP fader mixes are usually routed to a MASTER mix as described above
using the GROUP ASSIGN buttons. In this scenario, the GROUP audio is mixed
in with the MASTER output and never leaves the surface’s DSP as a discrete mix.
However, GROUP mix audio does appear as four individual stereo SOURCE
signals in the router and may be freely routed to any physical audio output
Group mixes usually appear in XPoint software at SOURCE signal ID
numbers higher than ID1001. The default signal names for Groups are D1GRP1
through 4 but the exact name depends on the number of surfaces in your system.
In multi surface systems the “x” in the Dx prefix is replaced with surface ID
number (e.g. D1, D2, D3, etc.).
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GUI Overview
The D-8 control surface is supplied with a custom embedded Graphical User Interface
(GUI) program that serves three primary purposes - comprehensive audio I/O metering,
simplified Mix-Minus configuration and status, and detailed control of all of the D-8’s audio
processing functions. The program runs as part of the D-8 surface software and requires no
external PC to operate. A touch screen interface and a multi-function scroll knob (SOURCE
SELECT on the MONITOR panel) may be used to control levels, switches, and processing
functions. An optional user provided mouse may be used with a standard VGA monitor in
lieu of the touch screen.
Connecting the D-8 and the GUI
Before applying power, connect the touch screen VGA monitor to the DB-15 “VGA”
connector on the left-rear of the D-8 frame. Connect the touch screen’s USB cable to the D-8’s
USB connector, then apply power to the D-8. No other configuration is required.
Touch Screen Calibration
Before using the touch screen for the first time run the calibration routine. It may be
necessary to periodically re-calibrate for different users. Invoke the calibration routine by
double-tapping the Alpha-Scroll knob located on the Monitor panel. Press the target in the
upper left and then lower right corners. Press DONE when finished.
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Using the GUI
The GUI is meant to be operated via the integral touch screen interface. The SOURCE
SELECT knob located on the MONITOR panel serves as a “soft” knob for users who prefer
the tactile feedback of a real knob when adjusting various processing and level settings.
Tap the top of a parameter to highlight it, the “soft” knob will control the setting. Press the
“soft” knob to tab (advance) to the next parameter.
Each window of the GUI is generally divided into two main parts, the top and bottom
sections. The top half provides metering and control functions while the lower half
provides additional control or interactive processing curves. Along the very top of the
VGA monitor is a Navigation Button Bar which provides quick access to the D-8’s set of
screens. Primary console functions divided into this set of screens include a Main Meter/
Fader view, Input control view, Mix-Minus view, Bus-Minus view, Help, and technical
Along the bottom of the GUI window is the Input Selector Bar that remotely invokes
any of the 24 input fader SET switches, providing instant access to control functions for
any input fader. The numbered buttons indicate by color the status of each channel. The
button is gray if the channel is OFF and the fader is down all the way, green if the channel
is ON and the fader is down all the way, yellow if the channel is OFF and the fader is not
fully down, or blue if the channels is ON and the fader is not fully down.
A set of FUNCTION buttons on the right side of the INPUT screen allows easy access
to a host of processing functions for the selected fader including HPF and LPF Filters,
Expander, Compressor, four band Parametric Equalizer, and Surround or Stereo Panning.
Dedicated screens for Mix-Minus and Bus-Minus settings let the operator quickly
determine the status of any remote or IFB feed.
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Navigation Button Bar
Use the Nav Bar along the top of every screen to instantly jump to the desired screen.
A green arrow indicator lights in the currently selected button.
• MAIN - jumps to Main metering screen
• INPUT - jumps to the Input fader control screen
• MIX MINUS - jumps to the Mix-Minus control screen
• BUS MINUS - jumps to the Bus-Minus control screen
• HELP - displays an integrated help system
• INFO - displays technical information about the D-8 surface
MAIN Navigation Button
When first powered up the D-8 defaults to the MAIN Screen. You may access this
screen anytime by selecting MAIN from the Navigation bar at the top of the monitor.
The Output meter array in the top half of the display is divided into four sections:
Monitors-Aux Sends-Groups-and Masters. Use the SET buttons under the MONITOR
meter columns to access the MODE selector on the left.
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The INPUTS section in the lower half of the screen displays a meter array of the
D-8’s 24 input faders. A unique gain/meter indicator “widget” allows users to easily
set input gain or fader levels with the touch screen or Source Scroll knob. The “widget”
is a meter column morphed with a draggable gain slider. Just touch the meter and drag
the level or processing parameter to the desired setting.
INPUT Navigation Button
You may access this screen anytime by selecting INPUT from the Navigation bar
at the top of the monitor or by pressing a fader’s SET button. Once the INPUT screen
is open, you can change fader channels by clicking on the INPUT SELECTOR BAR
located at the bottom of the monitor.
The INPUT screen is divided into top and bottom sections with Input Source
controls, filters, delay, and Bus Minus output controls located at the top. A graphical
curve window displays various settings depending on which processing function is
selected. Processing Selector buttons on the lower right let you quickly switch between
Expander, Compressor, EQ, and PAN screens for the fader.
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Gain Control Slider
Adjust input signal gain between -18.0dB - +12.0dB.
VU Meter
The level meter is a dual-indicating peak-over-average, with peaks riding as a lone “dot” over a solid
bar-graphed average. An “Over” indication is at the top of
picture of top left corner
the input level bargraph.
MODE Selector Switches
The mode selector switchbank include Surround, Stereo, Mono, Left, Right, and Blend buttons. When pressed,
the switch will light up to indicate the selected mode.
To select a MODE, press the SET button of the desired
channel or mix; the SET button will illuminate and the
current mode setting for that channel will be displayed on
the MODE switches. Select the desired MODE setting.
Surround mode is only available on input faders configured for 5.1 as indicated by the 5.1 label printed on the
fader knob.
Polarity Switches
A pair of buttons, one for left and one for right, are provided to cause the
reversal of absolute phase of the input signal path, in case there is an
inadvertent reversal elsewhere in the signal chain.
PH - Phantom Power Switch
When a microphone signal is selected as the source for the current fader,
you can switch phantom power ON or OFF. This switch is inactive for all other
analog or digital sources.
HPF (High-Pass Filter)
Use the IN switch at the top of the HPF slider to activate
this filter. Use the slider to adjust the cut-off frequency. A
graphical representation of the filter’s effect is displayed in
the filter curve window below.
This is a 24dB/octave variable high-pass filter with
Butterworth characteristics, tunable between 16.1Hz and
500Hz. The relatively high order of filter is necessary to
allow definite and decisive removal of unwanted low-frequency artifacts (air-conditioning rumble, line hum, traffic,
or footstep impacts) with minimal effect on the required
LPF (Low-Pass Filter)
Use the IN switch at the top of the LPF slider to activate
this filter. Use the slider to adjust the cut-off frequency.
A graphical representation of the filter’s effect is displayed
in the filter curve window below.
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This is a 24dB/octave variable low-pass filter with Butterworth characteristics, tunable between 1KHz and 20.2KHz. This filter is used to remove unwanted
high frequency artifacts (noise, squeaks, etc.) with minimal effect on the required
Note: Butterworth Filters
typically yield excellent
flatness, no ripple in the
pass band, and a rounded
amplitude response near
the cutoff frequency.
Select the IN switch at the top of the DELAY slider to add delay to the current
source signal. The delay may be continuously adjusted in a range from 0-667mS
(20 NTSC frames). Delay may be added to correct for timing inconsistencies
between audio and video that create noticeable lip sync problems.
Bus-Minus Section
Bus-Minus offers the ability for every input fader to produce its own unique
Mix-Minus output. This section is where you configure what the talent or guest
on the other end of this output will hear. Typically you want them to hear a predefined mix, minus their own voice.
To set up a typical Bus-Minus output you
will do the following:
• Turn ON the Bus-Minus output and set a
nominal output level.
• Press the “BUS-” button to remove the
fader’s own signal.
• Select a Base Mix. This is typically a
Master 1 or 2 bus but could be any
Mix-Minus 1-8 bus.
What the talent hears is the base mix, minus
their own voice.
Bus-Minus Controls
Bus-Minus ON Switch - select this to
enable or disable the fader’s Bus-Minus output.
Output Gain Slider - adjust Bus-Minus
output level.
Meter - will display the audio level at the
Bus-Minus output.
PFL Switch - press this switch to listen to this Bus-Minus output.
Bus-Minus Mode - select one of four mutually exclusive operating modes:
• Bus+: destination hears themselves along with the Base Mix.
• Bus-: destination hears the selected Base Mix, minus themselves.
• DIR PRE: destination gets a direct, pre-fader clean feed of the input fader.
• DIR POST: destination gets a direct, post-fader clean feed of the input fader.
Base Mix - select a mix on the surface you wish the destination to hear. Choose
from one of the two master outputs and the eight Mix-Minus busses.
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Processing Selector
Processing Selector buttons on the lower right side of the Input Screen let
you quickly switch between Filters, Expander, Compressor, EQ, and PAN
screens for the selected input fader.
An expander is a useful tool for reducing unwanted background noises. These could be
variously air-conditioning rumble or noise, background conversation, phone-line noises,
recording hiss, etc. It is also useful for reducing the inevitable general increase in
background noise of some recorded material when subject to heavy compression. A
common usage in live sound is to effectively turn a microphone off when not being talked
or sung into, so as to reduce corruption of a mix or reduce the chances of feedback with an
unwanted open microphone.
The expander is slightly counter-intuitive when first encountered in that, unlike nearly
any other processing element, it is active - i.e. working, attenuating away the input signal
- when the input signal is at its quietest, at or below the threshold. If the expander is on, there
will be gain reduction when no signal is present. The gain-reduction reduces as the threshold
is approached, and there is none above the threshold.
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The controls are:
EXP IN — A switch that allows the expander to be enabled and disabled.
THRESHOLD (-60.0dB - 0.0dB) — Below which the automatic attenuation starts to take effect.
RATIO (1:1.0 - 1:5.0) — Being the proportion of how many dB the input
signal is attenuated for every dB it drops below the threshold. 1:3 indicates
18dB loss for 6dB drop in input signal level.
DEPTH (0.0dB - 40.0dB) — The maximum amount the expander is
permitted to reduce the input signal level.
OPEN (1.00mS - 100.0mS) — The time-constant of the rate at which the
expander un-attenuates, or opens; sometimes called “attack”.
HANG (0.00mS - 1.000S) — An adjustable period of time the expander
remains open without attenuating, before starting to close. Handy to keep the
expander open during, say, speech inter-syllables or other short pauses,
without having to resort to excessively long...
CLOSE (50.0mS - 3.000S) — ... close times, being the rate at which the
expander attenuates away the input signal once below the threshold.
An input/output plot, a graphical representation of the relationships between threshold, ratio, and depth, is seen on the Expander Control screen of the
GUI. It is a handy visual aid.
Almost always, the trick is to set the threshold of the expander - below
which it starts to attenuate away the input signal - high enough to capture the
noise, but not too high as to snatch at the lower levels of the desired parts of the
program material. That can sound really irritating.
Sometimes the gain reduction is required to be subtle so as not to draw
attention to the fact that the expander is in operation. Under these conditions
shallow expansion ratios, such as 1:1.5 or 1:2 are preferred, as are restricted
depth - 6dB, or 10dB, is plenty and makes a substantial subjective improvement
to the noise.
These, too, are the kind of settings used for another application of an
expander, that of effectively shortening an excessively long room reverberation time, or an instrument’s ring-out that is overly persistent. In these cases the
threshold is set somewhat higher, well up into the desired audio levels - in this
way the attenuation becomes part of the overall sound, but the gentle ratio
prevents a sense of anything “odd” happening. Again, relatively shallow
depths of 12dB or so are plenty to achieve the desired effect.
More aggressive expansion, or “gating,” is accomplished with steep
ratios (1:3, 1:5) and with shorter open and close times than for “unobtrusive.”
It is still best not to go overboard with depth - even just 14dB, 20dB tops, is
enough to make a signal “disappear” in the context of a mix; the whole gating
sound, especially surprisingly its opening, is less obvious with shallower
depth. Sometimes the “Surprise!” element is required, though, for effect.
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The compressor algorithm used in the D-8 is designed to:
• prevent really ghastly noises from being achieved too easily;
• allow smooth, inaudible, and unobtrusive level control on uneven sources;
• be able to act as a peak limiter for inadvertent overload control;
• enable deep effects if required.
The D-8 compressor section is a compound of many diverse dynamics elements.
The level detector is a pseudo-RMS averaging type with its own symmetricalin-time attack-and-release characteristic adjustable between 0.1mS and 330mS
(“Attack” control). At the slower end of its range, by itself it achieves a nouveauclassic “dbx” style syllabic-rate level control. As the time-constant is shortened, it
becomes progressively shorter in relation to the lower audio frequencies themselves; the effect is to turn the detector into more of a peak-level detector, necessary
for limiting or wilder effects. A secondary effect at intermediate to fast attack times
is that low frequencies are peak sensed while high frequencies are average sensed,
resulting in an effective high-frequency bias (up to as much as 6dB differential),
which helps to mitigate the detrimental limiting effect of the resulting audio
seeming “bottom heavy” that is normal to most compressors.
While the overall gain-reduction scheme is “feed-forward” the heart of the
detector stage itself is a feedback limiter, which allows for this carefully-contrived,
loosely-damped servo-loop to permit far more interesting dynamic effects than the
analytically perfect but deathly boring deterministic classic feed-forward detection
schemes typically afford.
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The compressor is “soft-knee,” meaning the compression ratio
increases slowly with increasing applied level, greatly easing the sonic transition
into full compression. This helps to avoid the “snatching” and “pumping” at
threshold that many “hard-knee” dynamics units exhibit.
A full range of controls is available over the compressor’s behavior:
CMP IN — A switch that allows the compressor to be enabled and disabled.
THRESHOLD (-30.0dB - +10.0dB) — Threshold, the level above which gain
reduction is applied.
RATIO (1:1.00 - 1:20.0) — The proportion by which a signal exceeding the
threshold is reduced in level. “1:3” means that a change in signal level above the
threshold by 15dB will be reduced to only a 5dB change in level.
ATTACK (0.10mS - 330.0Ms) — How quickly the compressor responds to a
signal exceeding the threshold.
RELEASE (50.0mS - 3.000S) — The speed with which the compressor
recovers as the exciting input signal reduces or disappears.
MAKEUP (0.0dB - 20.0dB) — When fairly deep compression is invoked
(large gain reduction) it can be necessary to increase the compressor’s output level
back up to nominal system signal level. Up to 20dB of output gain is available to
allow this.
The AGC is an additional sidechain operating in conjunction with the
compressor. Generally the AGC has much slower integration times for attack and
release, so that it responds more to the medium or long-term energy of the program
material in a given band, unlike the more typically energetic actions of the
The AGC action rides “underneath” the compressor. Depending on the timeconstant settings and character of the program material, the AGC can follow the
average long term level changes and create a gain-reduction “bed” some 12dB to
6dB under the compression gain-reduction peaks. The AGC rides the general
level, so that the compressor processing for effect takes place on a consistently
controlled signal.
On sudden application of an input signal, the faster compressor’s attack
captures the onslaught, with the AGC eventually catching up. On release, the
effect is identical to the much-vaunted “two-slope release” of classic compressor
units such as the Audio and Design F760xrs and Joemeek SC2. On departure or
reduction of the input signal the usually faster compressor release predominates
until its gain-reduction contribution falls below that of the AGC, whose much
slower release rate takes over. A big advantage of the compounded processes is
that on normal program material, the compressor does not have to “move as far”
to capture signal peaks, so reducing the “snatching” which can occur at deep
compression onset.
For most purposes the combination AGC/compression is the most transparent,
but if the intention is wild effect, deriving all the gain-reduction from the
compressor alone is probably better.
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The EQ system consists of a four-band parametric EQ with low band and high band
PEAK/SHELF switching, plus variable frequency high and low pass filters. As any of
the controls are adjusted, a real time graphic display shows the resulting frequency
response curves.
Reasonably conventional parametric sections are employed, with +/-14dB lift and
cut capability, centre-frequency sweepable over the range of 16.1Hz to 20.2kHz, and
a filter sharpness (Width) sweepable between 0.2 and 3.0 octaves. The LOW and HIGH
bands also have a shelving function. The entire EQ is switchable in or out (“EQ IN”
switch). The composite effect of any EQ adjustments is shown in the frequency-domain
Low and High Shelving
The high and low “shelving” EQ sections are designed to correct for real or
subjective lack in low or high frequency energy in the program material.
The low shelver at the lower end of its range will enable specific kick-drum or bass
guitar elements of a source to be balanced with respect to the rest of the source; at higher
frequency settings it acts progressively more as a conventional “bass” control.
Similarly, at lower frequency settings the high shelver acts as a conventional
“treble” control; as the frequency is raised the effect is confined to progressively higher
frequencies allowing “sizzle” or “sparkle” to be (re)introduced without adding the
harshness that a corresponding rise in high-mid frequencies would introduce.
At mid-point frequency settings the shelvers reasonably emulate the classic
“Baxandall” style tone control, noted for its ease in rapid correction of tonal imbalance.
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The PAN screen is used to place a mono or stereo source signal anywhere in the
stereo or 5.1 surround sound field. When a surround source in the router is selected
on one of the dedicated surround input faders, then the PAN screen provides a
method for re-balancing the individual elements of the surround source - L front,
Center, R front, L surround, R surround, and LFE (sub woofer).
Note: Normally 5.1 source signals are routed to input faders that have been
configured as surround inputs. Routing a 5.1 signal to a stereo input fader will get
just the L-R front signals.
LEFT/RIGHT — Slider moves the signal left to right.
FRONT/REAR — Slider moves the signal front to back.
CENTER/SURROUND — Slider controls the ratio of CENTER imaging. Full
down removes signal from CENTER and is applied to the LT/RT and FRONT/REAR
slider, full up pans signal to CENTER only.
LFE — Slider controls level of signal sent to subwoofer channel.
WIDTH - An effect that changes the apparent distance between the speaker applies to stereo signals only.
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MIX MINUS Navigation Button
Pressing the MiIX MINUS button on the navigation bar at the top of the VGA
monitor opens up the Mix-Minus Control screen. This screen is split into two main
parts: the upper half provides dedicated meters and level control for all eight
Mix-Minus output masters.
The lower section of the screen labeled MIX MINUS SETTINGS is a 24 x 8
Mix-Minus assignment matrix. This matrix provides a very easy way to view the
Mix-Minus setup of the entire board.
Using the Mix-Minus Matrix
The Mix-Minus matrix provides an easy way to view and configure Mix-Minus
assignments for the whole console. There are 24 columns, one for each input fader
and eight rows - one for each Mix-Minus bus. Simply touch the intersection of a
fader column and Mix-Minus row to subtract the fader from the Mix-Minus output.
When an X is present, you are subtracting the selected fader column from the
Mix-Minus output. An MXM LED will light on each applicable input fader strip
to show selections made in the matrix.
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BUS MINUS Navigation Button
Selecting the BUS MINUS navigation button on the top of the touch screen opens
a BUS MINUS Master view that lets you see all 24 Bus-Minus outputs at once. This
view lets you control and meter the output level of any Bus-Minus output right from
one convenient screen. The destination window on top of each Bus-Minus meter
widget shows where each Bus-Minus output mix is routed.
A Word About Bus-Minus Outputs
Each input fader has a special dedicated output for IFB or Mix-Minus feeds - these
outputs are collectively known as Bus-Minus. These monaural audio output signals
may be freely routed in XPoint to feed telephone hybrids, ISDN interfaces, recording
feeds, or other devices as required. Note that Bus-Minus is a separate system from
the dedicated eight Mix-Minus busses.
What appears at the Bus-Minus output for a fader is determined by how you
configure the Bus-Minus output on the D-8 Input screen for your fader. In a typical
application like feeding a TV remote, one might configure the remote talent’s
Bus-Minus output to include a base mix of the board’s main program output bus (say
ST 1) minus the remote talent’s fader. Many other Bus-Minus configurations are
easily made, including direct outs for recording.
You can also control and meter the output level of any Bus-Minus output by
switching to the Input screen for your fader or navigating to the main BUS MINUS
screen. You can always press the SET button on the fader strip to cause the VGA
monitor to switch to that fader’s Input Screen.
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HELP Navigation Button
Clicking the HELP button at the top of the touch screen will display a
“browser” style, linked help window.
The Help system guides users through basic setup and control of the console.
Simply select a “browser” link by touching the screen.
To close this window select the main HELP button again.
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INFO Navigation Button
Clicking the INFO button will display an information window:
INFO — the technical information about the surface’s software versions and
connection status to its companion rack MT link, Ethernet link, and automation
To close this window select the INFO button again.
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User Programming Section
Muting a Studio Speaker When a Mic is Active
In traditional consoles monitor mutes, such as control room or studio mutes, are
typically programmed by setting a switch or jumper. Surfaces used with the
Wheatstone Bridge or Wheatnet use the VDip (Virtual Dipswitch) settings to
activate muting.
As a simple example, let’s see how to mute a studio monitor output when a
microphone located in that studio is turned on. We will use the VDip settings in the
Wheatstone XPoint application to set this up.
In our example we have a mic signal named “Mic 11” with a Signal Id of 36. We
want the Studio 1 output to mute when a fader with this signal is on air. From the
XPoint menu, select Configure>VDip Settings. The following form appears:
Make sure the Control Surface Id matches the surface you want to mute with this
mic signal. On the Per Signal tab, dial up the Input Signal Id of the target mic signal
(in this case, 36). Put a check mark in the Override Defaults check box to have this
setting apply only to the specified signal. Put a check mark in the appropriate
Studio Mutes check box (in this case, number 1). Normally you would also want this
signal to activate the air tally light, so we also put a check mark in the number 1 Tally
check box. Click OK at the bottom of the form, and save your configuration.
If this setup was done with XPoint in Online mode the settings are automatically
sent to the surface.
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Starting an Audio Playback Device from a Surface
One of the great features of the Wheatstone Bridge and Wheatnet systems is the ability
to couple logic signals with audio signals, allowing remote logic inputs and outputs to
follow an audio signal as it is routed from one surface fader to another.
Let’s look at a simple example, that of starting an audio playback device when the fader
it is routed to is turned on. We will use the Wheatstone XPoint application to set this up.
In our example we have an audio signal named “T CD1” that carries the audio from
a CD player. Find this source signal in the green Sources area of the XPoint matrix. Right
click on this signal name and select Modify Signal Definition from the popup menu to
display the following Signal Definitions form:
Select the Logic I/O (1-6) tab. Put a check in the box in the Enabled column on the line
that starts with “1.” If you already are using LIO 1, go to the first available LIO [go to the
Logic I/O (7-12) tab if necessary]. Select Tier, Rack, and Card numbers that point to the
Logic IO card you will use to control the player, and select a Port # for a currently unused
logic output on that card. Select “Out” as the Direction, and select “MachStrt” as the
Function. Click Apply and save your configuration.
You will also need to wire the logic output port you specified on the Signal Definitions
form to the device’s start input. Refer to the device’s documentation for wiring details.
Also note that the Wheatstone logic output port is opto-isolated; see the Wheatstone
Bridge manual for details on how this output needs to be connected.
Once you have the configuration and wiring properly done, all you need to do is select
the device’s audio signal as a source to a surface fader. Pressing the ON button on the fader
to turn the channel on issues a momentary pulse that creates a closure on the logic output
port to activate the device’s start circuitry.
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There are several other pre-defined logic Functions that can be used in a similar
manner with Wheatstone surfaces. The following table shows the Function name,
direction, and purpose for each of these Functions.
Function Direction
start a remote machine
stop a remote machine
light a remote channel ON indicator
light a remote channel OFF indicator
turn a fader channel ON from a remote switch
turn a fader channel OFF from a remote switch
control the OFF LED on a fader (typically by flashing)
from a CUE output of a remote machine
mute the audio from a remote location (typically the
audio signal here is from a microphone) by pressing a
remotely located switch
puts the fader channel in CUE on the surface - typically
used to allow talent at a remote mic location to talk to a
control room operator
D-8 / Feb 2009
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Setting Up an Air Tally with the Wheatstone
Bridge Router System
PURPOSE: Use the following procedure to set up an air tally logic output to be
used to trigger an air tally light. All configuration is done using the Wheatstone
XPoint GUI application.
PRELIMINARY: Before beginning the actual procedure you should read it
through first and collect any information you will need to know, such as location of
logic cards, availability of logic ports, signal ID numbers of audio signals that you
want to use for triggering the tally, etc.
STEP 1 — Create a logic destination in the Xpoint matrix:
• this can be done at any unused destination signal ID, preferably below 1000
• for the sake of this discussion we will use signal ID number 1
• in the XPoint matrix right click on the first yellow box at the left under the word
• select Modify Signal Definition from the popup menu to see the Signal
Definitions dialog box
• the Id should be 1
• enter a name, such as TheTally
• Destination will already be selected in the Source / Destination radio group
• select Logic I/O Only from the radio group of signal types
• select the Logic I/O (1-6) Tab and put a check under Enabled for LIO 1
(assuming it is not already in use)
• select the Tier, Rack, and Slot where the Logic IO card you will use is located
• select the port you want to use; I’ll use 1 in my example
• set Direction to Out (you use a logic OUTPUT port to provide the tally closure)
• make sure the Invert box is unchecked
• from the drop-down Function list select ST4InUse (corresponds to CR tally in
• click Apply
A brief explanation is in order here. There are 4 monitor circuits associated with
the Wheatstone surface: Studio1, Studio2, Headphone, and Control Room. These
appear in the VDip screen as Studio Tally’s 1, 2, HP, and CR. They appear in the
function list, when setting up a logic signal’s function, as ST1InUse, ST2InUse,
ST3InUse, and ST4InUse. This is why you use ST4InUse to set up a Control Room
(CR) tally.
STEP 2 — Create a new crosspoint
Next, create a crosspoint between the Destination just created (TheTally) and the
auto-generated source signal that carries the tally functions for the surface. By autogenerated sources, we mean sources that are automatically generated by the XPoint
program when a system is configured with one or more surfaces. These signals appear
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at signal ID 1000 and above. The names of these signals are of the form
GxTALLY, where G tells us that the surface is in the G-series (a surface in the
D-series would have a D in place of the G) and x is a number indicating which
of (possibly) several surfaces this signal is specific to. This all assumes that
you haven’t renamed the surface. GxTALLY will be one of the last Sources
seen for a particular surface. You may want to lock this crosspoint to prevent
it from being accidentally disconnected.
STEP 3 — Modify the Vdip settings
Next you will need to make the VDip settings for the surface inputs you
want to trigger the tally with. Please note that the VDip settings apply to an
input SIGNAL, and not to a surface channel.
• select the Configure | VDip Settings menu item in XPoint - defaults to
• unless you want the tally to activate whenever any surface channel is ON,
select the Per Signal Tab - it will be helpful if you write down the signal
ID numbers of the sources that will trigger the tally before you get to this
point - for our example, assume the signals Mic1, Mic2, and Mic3 will
be used, and that the signal IDs for these three signals are 33, 34, and 35
• highlight the Input Signal Id box entry (defaults to 1) and type 33 - the
signal name of Mic1 is now also displayed
• click Override Defaults - put a check mark in the Studio Tally box labeled
• using the up arrow in the Id box, select 34 and repeat step 4 - and once
more for Id 35
• Click OK
STEP 4 — Wire up the logic port
The only thing left to do is to wire up the logic card’s output port 1 to the
external circuitry (usually a relay) that will activate the tally light itself. Refer
to the Wheatstone BRIDGE Generation Digital Audio Network System
Technical Manual. In the Hardware chapter subsection that deals with the
Logic Input/Output Card (LIO-2001) there is a diagram that indicates how the
external wiring is done (page 2-77). Output port 1 appears on pins 12 and 25
of the LOWER DB-25 connector (see page 2-82 for the pinouts).
This should be sufficient information for you to set up a Control Room or
Studio tally.
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Setting Up Confidence Feed Control
This section explains how to remotely control the switching of confidence audio to
your Mix-Minus and Bus-Minus outputs. The way the system works is this • A “normally closed” relay closure from the master control switcher is used to
activate the confidence feed audio when the audio board is off air - not in the news.
During this time the Confidence Feed function is active and the audio source you
have selected in XPoint is heard at all Mix-Minus and Bus-Minus outputs.
• When master control takes the audio board live, the relay opens and normal
Mix-Minus / Bus–Minus audio is fed to the respective outputs.
To set this up you need to do the following:
1. Create a new DESTINATION signal in XPoint call it REM TRIG. Note that this
signal may be created anywhere there is an open signal space in the Destination
column. Make the signal be an INPUT and Logic I/O Only type. A typical
example of this signal definition is shown below.
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2. Cross-connect the REMTRIG signal to the D-8’s “D1CNFD2” Source signal.
See example connection below.
3. Next, cross connect the audio Source signal you would like to use as a
Confidence audio feed. Usually you would select the stations “Air“ audio. Do
this by routing the desired Source to the D1MMCF Destination signal in XPoint.
4. Wire up the Logic input port that you chose in step 1. Remember that when
wiring logic inputs you need to supply an external DC voltage (+5 to +12 VDC)
to the logic port’s + input and switch the GND side of the logic input port with
the relay.
Now when you go into a break Mix-Minus confidence feed audio will be heard at
all remotes, phoners, IFB’s etc. We the newscast is over, confidence audio is feeding
mix minus outputs so anyone dialing in will hear the confidence feed audio even if no
one is at the audio board.
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Setting Up Spare Buttons to Control Logic Outputs
This section explains how to map the Programmable buttons on the surface to logic
output ports. The way the system works is this • First create a Destination Signal in XPoint. Make it be a “Logic I/O Only” type, choose
the physical output port location, and select a SWITCHx function.
• Next use XPoint to cross-connect the surface’s SPARE button Source signal to your
newly created signal. The surface's SPARE signal is typically D1SPAR1.
Here is an example of how to configure the Destination Signal:
- Note that it is an OUTPUT, “Logic I/O Only” Type, the and the Function is SWITCH1.
The Function is selected from a drop down list. By choosing “SWITCH1” you are
mapping the first Programmable button to control this logic output port. You can
change the Function to be SWITCH1 through SWITCH 6.
- Once you have your logic output signal defined, cross connect the Surface’s SPARE
signal to it.
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