Wheatstone E -6 digital audio control surface Technical Guide

E-6 Digital Control Surface
TECHNICAL GUIDE
600 Industrial Drive, New Bern, North Carolina, USA 28562
GENERAL INFORMATION
General Information
Introduction
Designed to integrate flawlessly with the E-series Satellite digital audio network
router, the E-6 control surfaces allow you to easily create large- or small- platformbased systems that are exceptionally user-friendly and flexible. The E-6 control
surface has major market features: event recall, both bus-minus and mix-minus, and
four aux mixes—all with dedicated talk-back systems. The E-6 also has four monitor
outputs, and standard EQ, dynamics, panning, and mic processing on all channels
(simultaneously). It supports multiple arrays of programmable input channel and
master panel switches for customized functions like phone, intercom, salvos, or
machine commands. The E-6 drives a user-supplied VGA monitor display, via the
Embedded E-6 Graphic User Interface (GUI), providing hi-res REALTIME graphic
displays, production tools, and set up screens (security protected by multilevel pass
codes). An RJ-45 Audio Transport MIXER connector on the rear of the control
surface serves as the link between the surface and the network system.
E-6 / Dec 2007
page 2
GENERAL INFORMATION
Control Surface Placement
The E-6 digital audio control surface is designed for simple drop-in installation
in a counter top. Cutout dimensions (in inches) are shown in the drawings below
for 5 available frame sizes.
Do not connect the E-6 control surface to its power supply (and do not connect
the power supply to the AC power line) until instructed to do so.
20.79
E-6 8 INPUT FRAME
CUTOUT DIMENSIONS
8 INPUT FRAME - 14.17" x 19.19"
12 INPUT FRAME - 14.17" x 25.45"
16 INPUT FRAME - 14.17" x 31.71"
20 INPUT FRAME - 14.17" x 37.97"
24 INPUT FRAME - 14.17" x 44.23"
17.83
0.955
1.67
2.55
3.21
27.05
13.67
E-6 12 INPUT FRAME
17.83
18.79 for 8 Fader Input
25.05 for 12 Fader Input
31.31 for 16 Fader Input
37.57 for 20 Fader Input
43.83 for 24 Fader Input
33.31
39.57
E-6 16 INPUT FRAME
E-6 20 INPUT FRAME
17.83
17.83
45.83
E-6 24 INPUT FRAME
17.83
E-6 / Dec 2007
page 3
GENERAL INFORMATION
Getting Started
The E-6 control surface comes with the E-6 Embedded Graphical User Interface
(GUI) program, intended to be straightforward in use, controlling and displaying
graphics, production tools, and set up screens. All controls of the GUI’s main screen are
in fixed positions, except that the FUNCTION DISPLAY area contents change according to selected function.
FUNCTIONS TABS
PROGRAM METERS
FUNCTIONS DISPLAY
SOURCE
MONITOR
CONTROLS
CHANNELS
BUTTONS
ACCESS AUTHORIZATION
Connect the user-supplied VGA monitor LCD or other display to the DB-15
“MONITOR” connector on the control surface’s rear panel, power up the surface, and
the GUI will appear on the monitor display.
The surface’s Master Panel has a built-in touch pad to control the mouse pointer on
the VGA screen for system software navigation. A serial or PS-2 mouse may be used in
tandem with the touch pad.
We will also refer throughout this manual to the XPoint program. This program,
which runs on a user-supplied PC running Windows XP, complements the embedded
surface GUI program, providing additional programming and control functionality.
Read more about XPoint in the Wheatstone Evolution Series Digital Audio Network
System Technical Manual.
E-6 / Dec
Jan 2009
2007
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GENERAL INFORMATION
Log-In
When the surface boots, it enters the log in level that was last accessed. Look in
the lower left corner of the VGA screen to see the current ACCESS AUTHORIZATION level. Pressing the PASSCODE switch on the Master panel opens the
PASSCODE ACCESS window. Select a user level - Intern, Operator, Production,
or Engineering- with the mouse or touchpad, then enter a numeric pass code and
press the OK button. All default passcodes are ”111”. Please see the Master Panel
- Control Modes section of this manual for detailed information regarding passcodes.
Tabbed Navigation
The E-6 features a “tabbed” navigation architecture to easily access features
with a minimum number of mouse clicks. There are a few subtleties you need to be
familiar with to efficiently get around the tabbed software screens. This section
introduces you to the tabs; detailed function information is included in the Input and
Master panel sections.
The E-6 VGA monitor is vertically divided into two halves with a METERING
PANE on the left side and a FUNCTION PANE on the right side. The Main Menu
Tab buttons are located across the top of the function display area .You may access
any of the Main menu Tabs by simply clicking on them. To access Input functions,
press an Input SET button and the Function Pane will jump to settings for that input
fader strip.
Notice the “Button Bar” at the bottom of the Input screen. You can access the
powerful DSP and programmable features here.
Main Tab - displays Timer/Clock, Current Event, Switched Meter, and the External
Sources for monitors.
Input Tab - displays interactive Source & Programmable button windows, Mode,
Pan, and Aux Send settings for the selected channel. Note you must press an Input
fader’s SET button to show the settings for that channel, or click on a CHANNEL
STATUS button in the lower left side of the VGA to access any fader.
Input Button Bar -click on Source, EQ, Dynamics, VDip, Load, and Save to access
these features, described Later.
Aux/MixMinus Tab - displays controls for the four Aux Master outputs and the
Mix-Minus Outputs.
Presets Tab - the E-6 includes the ability to save, copy, and paste individual EQ,
dynamics, and even whole channel strip settings. Settings for each category are
stored as Presets. The Preset Pane allows you to manage and apply presets to
Sources and faders.
E-6 / Dec
Jan 2009
2007
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GENERAL INFORMATION
Events Tab - the E-6 can store a “snapshot” of the entire control surface in a
file called an EVENT. The Event Pane is divided into two sections. The
Event Recall section lets you recall previously saved Events. The Event
Editor is a manager for creating, editing, and deleting Events. Optional
permissions let you limit access to Event Recall and Event Editor functions.
Options Tab - a wide variety of programmable options are found here to
customize the E-6 for your application.
Note: Each Tab is described in detail in subsequent manual sections.
Surface Software Version
In the event that you need to consult the
factory about the E-6 control surface, you may
need to have the surface software version number available. Click the Wheatstone logo on the
top of the start-up screen to display the “INFORMATION” form, which shows technical information about the surface’s software version and
connection status to its companion rack MT
link, Ethernet link, and automation interface.
E-6 / Dec
Jan 2009
2007
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INPUT PANEL
Input Panel (IPE-6)
Controls and Functions
Each input panel of the E-6 digital audio
control surface has four identical strips representing four input channels. You control
how each channel is set up by pressing physical switches on the surface and configuring
software settings through the Input Tab.
The SET button located at the top of each
fader strip provides access to the Input Tab
located on the VGA monitor. The Input Tab
is the center of control for the E-6 surface.
Here you find easy access to most of the fader
strip’s parameters. Various hardware LED
indicators on the fader strip let the operator
know when a particular function is active.
All physical switches on a fader strip may be
used at any time without having to press the
SET switch.
SET Button
This switch is at the heart of the operational control of the surface. SET allows the
operator to access various controls and functions, such as Source selection, MXM Assign, AUX Bus configuration, EQ/Dynamics, Panning, etc. When you press the SET
button, the Input Tab display changes to
show you the current settings for this fader
strip. Once a SET button has been pressed,
the button lights up, and operator interaction
will apply to that input channel until a
different input SET button is pressed, or until
a timeout of about 20 seconds has occurred.
Timeout is optional and may be defeated in
the Options Tab.
Certain functions are accessed by using
hardware switches and knobs located on the
MONITOR panel. These shared controls are
accessed by first pressing the SET switch on
the desired fader strip. For example, Mix
Minus bus assignments are switched using
the shared MXM ASSIGN switches.
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INPUT PANEL
Input Tab Display
When you press an Input fader’s SET button the Tab display switches to the
Input Tab for that channel. You can click on various buttons to configure the
channel for your application. Note that the Source and Programmable Button
windows are interactive. The INPUT SOURCE knob on the Master Panel (see
Chapter 3) serves double duty and acts as a parameter modifier when in the EQ
or Dynamics screens.
A Button Bar located near the bottom of the Input Tab provides for
navigation between the SOURCE, EQ, DYNAMICS, VDIP, and Preset
LOAD-SAVE screens.
A typical Input Tab SOURCE screen is shown below, followed by
descriptions for each of the functions. Other screens from the Input Tab are
discussed at the end of Chapter 3.
Currently selected fader strip
NOTE:
When SET is pressed,
the FUNCTION PANE
displays the last feature
selected from the Input
Tab’s “Button Bar” —
Source - EQ- -Dynamics - VDIP - Load - Save
Function Tabs
Function Pane
Button Bar
Source Window
Click in the SOURCE window to open the
signal tree. Highlight a source name in the tree
and double-click to select it.
You may use the Visibility feature in XPoint
to limit the signal list the user “sees” when
selecting sources. This feature is especially
useful in large systems with lots of sources.
Visibility for input sources can also be set from the surface. This
procedure is outlined in Chapter 3.
Dec2009
2007
E-6 / Jan
page 8
INPUT PANEL
Programmable Button Windows
Each fader strip has two programmable buttons. There are two programmable button “windows” within the Input Tab associated with each
input channel. To program a button, click in the desired button window or
press and hold the button until the Channel X - Pgm Button Y screen pops
up. Select the desired function from the list by clicking on it, then click the
SETbutton on the pop-up window to confirm.
If your choice was “Take A Source” then the Source list pops up when
you click the SET button to allow you to choose the desired source.
E-6 / Dec 2007
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INPUT PANEL
Fader Mode Controls and Indicators
There are five available channel modes: Stereo, Mono, Left
only, Right only, and Surround
(5.1). Click on the desired mode
and its virtual switch will light.
The channel’s CHANNEL
MODE indicators on the fader
strip will change to reflect the
new mode.
STEREO – selects stereo
mode; Left in feeds fader L,
right in feeds fader R. If a mono
source is selected, it will feed
both L and R. A 5.1 source will
be down-mixed to stereo.
MONO – selects mono
mode. If a stereo source is selected it is summed to mono and
reduced by 6dB. A 5.1 source
will be down-mixed to mono.
LEFT (left only) – passes
only the left channel of a stereo
source to both L and R.
RIGHT (right only) – passes
only the right channel of a stereo
source to both L and R.
SURROUND (5.1) – sets the input fader to be a surround channel. Only
input fader channels configured in hardware as 5.1 channels may be put in
this mode. Use this mode when selecting 5.1 surround sources.
Pan
L/R - slider moves the signal left to right.
Phase
A pair of switches, one for left and one for
right, located on the left-bottom of the “INPUT” screen, are provided to allow for the
reversal of absolute phase of the signal path.
E-6 / Dec 2007
Aux Sends
Use these controls to send the fader to any
or all Aux Send outputs. Mode controls tap off
the source signal in any combination of preand post-fader, pre- and post-channel ON
switch. There are dedicated Aux Send ON and
audio MODE controls for each of the four Aux
sends. You may use the hardware Aux Send
knobs (see the Master Panel) or the virtual
Aux Bus knobs on this screen to set the signal
level feeding the Aux Bus. All settings are
saved with Events.
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INPUT PANEL
Other Physical Switches and LEDs
Program Assign
Output switches assign the selected source signal to any combination
of the surface’s four stereo Program outputs—A, B, C, and D. The button
will be lit when the source is assigned to its respective bus. To remove a
source from the bus, press the button again; the light will go off to indicate
that the source is no longer assigned to that bus.
MXM Assign LEDs
Each channel can be assigned to any combination of the four
MIX-MINUS buses. The MXM ASSIGN 1-4 LED group gives the
operator a quick indication of what mix-minus buses the source is assigned
to. The last indicator, labeled REC, is reserved for future use.
Channels are assigned to these MXMs in the
following manner: press the channel SET button on
the input fader section and then press the desired
MIX-MINUS ASSIGN button, located on the
MNE-6 panel. Note that you are normally assigning
the channel, and not the source, to the MXM bus.
But see the section on MIX MINUS options later in
the manual (MXM ASSIGN, page 3-7).
LED Readout
An 8-character display shows the name of the
audio source selected to the fader.
CUE Switch
The CUE switch assigns the selected source to
the CUE bus, letting the control surface operator
monitor the channel’s pre-fader signal.
TB BUS- Switch
The TB BUS- switch routes the TB BUS
audio, typically the operator’s microphone, to the BUS MINUS output for
that channel, allowing the operator to talkback to the talent hearing that
BUS MINUS signal.
Bus-Minus Outputs
Each fader has a dedicated Bus-Minus mix that includes all active
faders except for itself. These auto generated monaural mix-minus signals
may be routed to feed telephone hybrids or other devices as required.
Bus-Minus mix 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 E1BM01 but the exact
name depends on the fader and surface ID number.
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INPUT PANEL
Fader
Channel output level is set by a 100mm, professional, conductive
plastic linear fader.
NOTE that input channels configured for 5.1 sources have fader
knobs engraved with “5.1”.
Channel ON Switch
The channel ON switch turns the channel signal ON and fires any
channel ON (START) logic mapped with VDip to the fader’s source
signal. The switch LED lights to indicate the channel is ON.
Channel OFF Switch
The channel OFF switch turns the channel signal OFF and fires any
channel OFF (STOP) logic mapped with VDip to the fader’s source
signal. The switch LED lights to indicate the channel is OFF.
Channel Status Buttons Display
A row of numbered buttons along the bottom of the main VGA
screen shows the status of each channel. When a channel is OFF with
the fader down its corresponding button appears gray. If the fader is
brought up with the channel remaining OFF the button turns yellow. If
the channel is ON and the fader is down, or if the channel is ON with
the fader up but not assigned to any of the four PGM buses, the button
color becomes green. If the channel is ON, and the fader is up, and the
channel is assigned to one of the four PGM buses, the button color
becomes blue.
The CHANNEL STATUS button will also indicate a “logic lock”
situation, which happens when a signal is assigned to multiple channels, either on the same surface or on different surfaces. As long as all
of the affected channels are OFF there is no indication. But as soon as
one of those channels is turned ON, the indicator, which consists of a
padlock icon, will appear on the CHANNEL STATUS button of the
rest of the affected channels. The purpose of the indicator is to tell the
operator that the signal on that channel is in use elsewhere, and that
logic control for the signal is owned by some other channel in the
system. Operators should be made aware that logic associated with a
signal will not act as expected when the logic lock indicator is ON.
A RED dot indicates that processing is active on that channel.
E-6 / Dec 2007
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MASTER PANEL
Master Panel (MNE-6)
Controls and Functions
The E-6 digital audio control surface is equipped with one MASTER panel.
This panel contains numerous controls, including INPUT SOURCE select,
PAN, CUE, and AUX SEND controls,
MXM ASSIGN buttons, HDPN MODE
buttons, TIMER CONTROL buttons, 14
PROGRAMMABLE buttons, and four
MONITOR sections with buttons to select
MIX MINUS, AUX SEND and PROGRAM sources, plus two additional EXT
(programmable) sources, as well as level
controls. Add to that separate TB buttons
for each MXM, each AUX SEND, and both
STUDIO monitors, a group of 9 switches to
deal with various operational modes, and a
mouse pad with two buttons to aid in navigating the VGA screen.
PAN Control
The PAN knob acts as a panpot in
MONO, LEFT only,
and RIGHT only
modes, and as a balance control in STEREO mode. This
feature is activated
for a given channel
by pressing the channel’s SET button. To
easily set the PAN to center, you can press
the control twice in rapid succession, like
double-clicking a mouse button. You may
also adjust PAN by clicking and dragging
the PAN position indicator on the Input
Tab.
INPUT SOURCE Knob
The INPUT SOURCE knob serves two
primary functions: As a
Source signal selector for
fader strips or as a DSP
parameter value controller when the Input EQ or
Dynamics screens are selected.
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MASTER PANEL
When the SET button is pressed on the desired fader strip AND the
Input Tab is positioned on the main SOURCE screen, the INPUT
SOURCE knob can be used to select the desired source. By turning this
knob, the available inputs are displayed in the 8-character SOURCE
display for selected channel. When the desired input source is scrolled
into the SOURCE window, pressing the ENTER button will cause that
source to be switched to the input of the channel. If you fail to press
ENTER, the display will revert to its original setting after a timeout of
approximately 4 seconds, and the original source remains in effect. Note
you can also simply click in the SOURCE window on the Input Tab and
select the desired Source from the signal list.
Source Visibility - use the Source Visibility Option setting to limit
the sources the user “sees” in the signal tree. This feature is helpful,
especially in large systems with lots of signals.
• When the panel’s OPTIONS button is pressed the VGA Options
screen pops-up (shown below). Select “Source Visibility” from the
AVAILABLE OPTIONS scroll down list to display the Source Visibilities form (below).
With this form the user can set the channel’s source visibilities. Scroll up and down the
source list and highlight the desired source signal(s) and click the APPLY button to save the
visibility options. If you have made changes and then decided you don’t want to put the
changes into effect, click RESET. This will cancel any changes you made since entering the
screen or since clicking APPLY, whichever happened most recently.
In addition to the eight character name of a signal, signals may also have a second
identifier, an eight character location, which is typically set up in the XPoint program. Using
the SHOW LOCATIONS button on the Source Visibility Options screen you can determine
if the location identifier will show up in the Source list on the monitor when setting visibility.
Click the SHOW LOCATIONS button to toggle between YES (show locations) and NO
(don’t show locations).
There are also “QUICK VISIBILITY” selection buttons. Clicking the ALL button will
set all source signals to be visible. Clicking the NONE button will set all source signals to
be hidden.
E-6 / Jul
Dec2009
2007
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MASTER PANEL
You can change the channel you are affecting visibility on by selecting the
desired channel in the channel drop down box.
You can also make and use visibility SUBSETS. To apply a preset to the current
channel, select the preset from the SUBSETS drop down box, then press LOAD.
After a preset is loaded, you can make changes to it by altering the visibility as
described above, then press SAVE TO.
Creating new presets is covered later in the manual (see page 3-17).
AUX Buses
The control surface has four AUX busses, which can be
used to create record feeds, extra mix-minus buses, etc.
Input AUX Send control is accessed using the Aux
Send section of the main Input Tab screen. Press SET on
the desired input channel and the Input Tab automatically
opens to the last screen in use. Press SOURCE on the
button bar near the bottom if you don’t see the AUX Bus
section right away. Each AUX bus feed has Mode, Prefader Pre-On switches, and On/Off controls. A virtual Aux
Send knob indicates relative level. Use the physical Aux
Send knobs on the panel or the mouse on the screen to
adjust levels. All adjustments can be saved to a Channel,
a Source, an Event, or a Preset (see more on saving later).
Multi-Function Aux Knobs
When a fader strip is selected with SET, the panel knobs set the Aux Send level
to the Aux bus. When no SET buttons are pressed, these knobs act as Aux Bus
Master level controls.
E-6 / Dec
Jan 2009
2007
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MASTER PANEL
Pressing the Aux/MixMinus Tab
switches the FUNCTION PANE to the
AUX and MIX-MINUS MASTERS screen
with four AUX master level controls and
ON buttons. If no channel SET buttons are
pressed, the physical AUX Send Knobs
adjust the Master Aux Send output levels.
TB (Talkback)
To interrupt an AUX bus signal with the surface’s predefined TB
signal, press the TB switch for the desired AUX 1 - AUX 4 send. This
allows the control surface operator to communicate with the Talent or
location receiving that AUX send.
Note that the Talkback source, typically a host mic, must first be cross
connected to the surface’s TB input using either XPoint software or the
E-6’s built in Route function. The TB signal may be any Source signal in
the router including MXM or Aux busses. The E-6’s TB input signal is
a factory defined surface Destination signal (greater than ID1001) with
a name similar to E1TBk. The actual signal ID number and signal name
depend on how many surfaces you have.
E-6 / Dec 2007
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MASTER PANEL
MXM ASSIGN Switches
These physical buttons are used
to route input fader strips to MIXMINUS busses. Press the SET
button on any channel. If that channel is assigned to feed an MXM
bus, the corresponding MXM ASSIGN switch and LED indicator
on the fader strip will be lit (but
this operation can be modified see the INVERT LEDS button on
the Aux/MixMinus Tab, as described below). Pressing an
MXM ASSIGN switch will toggle that channel’s signal
into or out of the corresponding MXM bus.
MXM Master Controls
Click the Aux/MixMinus Tab on the GUI screen to
bring up the MIX-MINUS MASTERS controls. Each
MXM Master has a PRE-FADER and PRE-ON switch as
well as a virtual level knob. Two global option buttons for
LED inversion and Source follow control round out the
section.
PRE-FADER - Normally any signal feeding a mixminus does so with a post-fader signal. Selecting the
PreFader button for a given Mix-Minus bus globally
configures the MXM bus to tap off the input strip audio
before the fader.
PRE-ON - Normally any signal feeding a mix-minus
does so with a post-ON switch signal. Selecting the PREON button
for a given
Mix-Minus bus globally configures the MXM bus
to tap off the input strip audio before the
channel ON switch.
INVERT LEDs -This setting is used to
flip the logic applied to the MXM assign
LEDs on the fader strips. Set it to NO if you
want the MXM assign LEDs on the fader
strip to light up when the audio is feeding
the bus. In this case you will have an MXM
LED for every source that is feeding the
MXM bus, and the MXM LED would be
OFF on the strip that is not on the bus. This
is how normal bus assign switches, like
PGM A, PGM B, etc., work.
Choose YES, to flip that behavior. In
this case all faders will normally feed the
E-6 / Dec 2007
page 17
MASTER PANEL
bus without lighting up the switches, and
the fader that is NOT on the MXM bus will
have its MXM LED lit. This inverted assign mode lets you quickly see which
MXM bus the fader is subtracted from and
may require fewer MXM assign switch
presses to set up the mix-minus. When you
first choose YES you will have to check
that all MXM assign LEDs are OFF to
normalize the setup, then simply press the
desired MXM assign switch to remove the
signal from an MXM bus. The MXM assign LED on the fader strip will light to
indicate the signal is removed.
While it is much easier to visually
determine the MXM bus assignment status using inverted LED mode, radio stations tend to operate in the NO mode and
TV stations in the YES mode. Set this as
required for your facility. Give Inverted
Mode a try; it may actually be easier to use.
FOLLOW SOURCES - This setting is used to activate the MXM
follow attribute for source signals. When set to NO, the MXM assignments made at the fader strip “stick” with that strip no matter which
source is selected. Choosing YES causes the MXM bus assign settings
to “stick” to the Source signal selected for that channel. If the Source
is moved to a different fader on this surface, or recalled at a later time,
the MXM assign settings will automatically follow.
There is one caveat that needs to be considered when deciding
whether to set FOLLOW SOURCE to YES or NO. In the NO mode,
when you take an Event, the MXM settings for each channel will be set
to the same state they were in when the Event was saved. However, in
the YES mode, the MXM settings for each source will be set to the last
state they were set to, which may or may not be the same as they were
in when the Event was saved. What this essentially translates to is that
MXM settings are not saved with the Event when FOLLOW SOURCE
is operated in YES mode.
E-6 / Dec 2007
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MASTER PANEL
MXM Talkback
To interrupt a mix-minus output with the surface’s predefined
talkback signal, press any of the
four MXM TB momentary
switches. Note that the Talkback
source, typically a host mic, must
first be cross connected to the
surface’s TB input using either
XPoint software or the E-6’s built
in Route function. The TB signal may be any Source
signal in the router including the MXM or Aux busses.
The E-6’s TB input signal is a factory defined surface
Destination signal with a name similar to E1TBack. The
actual name depends on how many surfaces you have.
There is only one TB bus input on the E-6. You can use
Programmable buttons to momentarily route other sources
to the MXM outputs.
CUE Knob
The CUE master level control is located in the center
section of the MNE-6 panel. The
CUE signal is pre-fader, and is normally used to check signals. When
a channel is CUEd, its pre-fader
signal will appear in the external
cue speaker, and the switched meter
screen on the VGA, if visible, will
show the level of the pre-fader signal.
The CUE level control determines the overall loudness of the cue signal.
The external cue speaker has the potential for feedback and should be muted whenever the control room speakers are. Use
VDip to add the CUE MUTE attribute to any microphone signals located
in the control room.
E-6 / Dec 2007
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MASTER PANEL
Monitor Speaker Controls
The Monitor section, at the bottom of the
MNE-6 panel has the controls for four monitor
outputs: CONTROL ROOM, STUDIO 1, STUDIO 2, and HEADPHONE. The VGA always
displays the monitor level, muting, and options
status.
Each monitor has a LEVEL control and a
bank of source select buttons for PROGRAM,
MIX-MINUS, and AUX SEND, as well as two
programmable EXT buttons. There are also
TB buttons in the two STUDIO sections. Each
monitor output has options for Muting, Locking the output level, and interrupting the output
with Cue audio. The headphone output may
also be fed with split CUE and an optional
processed signal (see the description of the
Headphone Mode Switches later in this chapter).
Speaker Muting
To MUTE a monitor output you first need to configure the virtual dipswitches
(VDip settings) for each microphone source signal. VDip is easily accessed by
pressing the mic input fader strip’s SET button. The VGA automatically switches to
the Input Tab for that channel. Then choose VDip from the Button Bar near the bottom
of the Input Tab. Check the Mute boxes as required to mute the CR or Studio outputs
when the mic is turned ON. An Options Text File setting determines whether the Mute
occurs when the fader is simply turned on or if the fader must be ON, up, and routed
to the PGM bus (see Appendix 2 for more information about the Options Text File).
Speaker Level Controls
Each monitor output level control uses an optical encoder with no detent or end
point. Use the CTRL ROOM, HEADPHONE, or STUDIO level meters on the VGA
monitor to correlate the overall loudness to the relative encoder position.
NOTE: If a monitor output is muted and you turn the level control all the way up,
then remove the condition that has the monitor muted, the sound in the monitor
speakers (or headphones) will suddenly be VERY LOUD!
Source Select Switches
Each monitor output section has its own bank of source select switches which
select the audio signal sent to the speakers or headphones. Each bank includes
dedicated switches for selecting PROGRAM A, B, C, or D, two programmable
sources (EXT1 and EXT2) Aux Sends 1-4, and Mix Minus outputs 1-4. Simply press
the desired switch to listen to that output bus or external source signal.
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Jan 2009
2007
page 20
MASTER PANEL
Programming External Source Switches
External switches may be programmed to
select any Source signal on the router. Press the
external button and hold it for few seconds, the
list of the available external inputs will pop-up
in the monitor display. Choose the desired
external input from this list by using the
surface’s mouse pad or up and down buttons.
You can also initiate the source programming
for the external inputs by clicking the EXT
source window on the VGA monitor.
While there are separate EXT 1 and EXT 2
buttons for each of the four monitors, the
buttons really only represent two stored signal
choices. All four EXT 1 switches are mapped
to one source, and the four EXT 2 buttons are
mapped to a second source.
Control Room Section
The control room section of the monitor has a dedicated meter and level knob. The
board operator’s microphone is normally programmed using VDip to MUTE the
control room output and prevent the occurrence of feedback. When MUTE is active,
the word MUTE appears in the center of the monitor’s meter display.
The CR level may also be locked to a user defined volume level. See the E-6 Monitor
Options section below.
Headphone Section
The built in HP amp output signal appears at the headphone jack, mounted on the
right-hand front of the control surface’s lower mainframe pan. The jack is provided as
a place to plug in user-supplied stereo headphones having an impedance of
60 Ohms or higher. A DB-9 connector on the rear of the surface provides a stereo line
level input to the HP amp. See Chapter 4 of this manual for pinout information. To get
audio into the HP amp, wire any router analog output to the HP amp input. Use XPoint
to cross connect the surface’s HP mix source signal (e.g. E1HP) to the analog
destination wired to the surface.
Headphone Mode Switches
Split Cue - Activating the SPLIT switch allows a summed (L+R)
version of the regular program to be sent to the right side of the
headphone output, while CUE audio is sent to the left side.
EQ - Activating the EQ switch routes the headphone source signal
through a pre-defined processing loop. To apply processing to the HP
mix you first must use the EQ and Dynamics controls on a Mic input
channel to achieve the desired settings. Then click the Save button at the bottom of the
Input Tab. This brings up the Preset Save window. Under SAVE TO click the HDPN
button. This activates the SAVE button at the bottom of the Preset Save window; click
this SAVE button to finish the procedure. Now, when the HDPN MODE EQ button is
lit, the DJ will hear the processed “sound” of the selected PGM or External mix in the
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headphones. This is useful for monitoring the
board output with processing without the delay
problems associated with HD air signals.
Studio Section
There are two Studio output sections each
with dedicated source select banks, metering,
and level knob. Microphones located in the
studios are normally programmed using VDip
to MUTE the associated Studio output to prevent the occurrence of feedback. When MUTE
is active, the word MUTE appears in the center
of the monitor’s meter display. Each Studio
level control may be locked to a user defined
volume level (see the E-6 Monitor Options
section below).
Talkback to Studio
Each Studio output has a dedicated TB button which lets the operator interrupt the
normal feed to the studio speakers with a pre-determined TB signal. Note that the
Talkback source, typically the board operator’s mic, must first be cross connected to the
surface’s TB input using either XPoint software or the E-6’s built in Route function. The
TB signal may be any Source signal in the router, including MXM or Aux busses. The
E-6’s TB input signal is a factory defined surface Destination signal with a name similar
to E1TBk. The actual name depends on how many surfaces you have. There is only one
TB bus input on the E-6. You can use Programmable Buttons to momentarily route other
sources to the Studio outputs.
E-6 Monitor Options
The Headphone, Control Room, and Studio
outputs are normally subject to the control surface’s
muting and cue interrupt circuits. Use the Options
Tab > Monitor Config screen to modify speaker
behavior.
Cue Defeat - Click on the Options Tab, choose
Monitor Config from the AVAILABLE OPTIONS
scroll down list, and set the Cue Defeat option for
Headphone, Control Room, and the Studios. If you
program a Cue Defeat option to be ON, that means
that cue will not interrupt that monitor output.
Level Lock - You can lock any of the surface’s
monitor level control pots. Use the slider to set a
level and switch the Level Lock to be ON. Press the
APPLY button at the bottom to confirm. The
corresponding LOCK LED will be lit in the monitor speaker section of the VGA.
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Events
The E-6 includes a snapshot save and recall feature that
saves all of the surface’s switch, level, and DSP settings to a
unique Event file. These saved Events may be recalled as
required at any time. User access privileges may be configured to limit access to Event Save, Recall, or both. Click on
the Events Tab or press either EVENT button (VIEW or
SAVE) on the Monitor Panel to open the Events Tab.
The Events Tab is split into two sections - Event Recall
and Event Editor. EVENT RECALL located in the top
section of the tab, allows users to select and recall a previously saved
Event. Highlight the Event name in the list window, then press ARM, then
press TAKE. Note that the board will completely reset to the previously
saved state. In order to accommodate Event switching while OnAir, any
faders which are ON when the Event is recalled will NOT be affected.
The EVENT EDITOR acts an Event file manager. This is where you
create, save, rename, and delete Events. It is pretty easy to use. To create
a new “snapshot”, simply click NEW and enter an Event name using the
pop-up virtual keyboard. Highlight an existing Event name and click
SAVE TO to overwrite the Event with the current surface configuration,
RENAME to retitle it, or DELETE to permanently remove it.
Deleted Events may NOT be restored.
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Enter Button
As mentioned in the earlier description of the INPUT
SOURCE knob, the ENTER button is used to complete the
selection of a source for an input channel.
Help Button
Pressing the HELP button opens a HELP menu on screen
for when Talent needs help with settings such as a mixminus, or with surface operation in general.
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Control Modes - User Permissions
The E-6 control surface is operated in one of four modes: Intern, Operator,
Production, and Engineering. Engineering mode, by default, allows the user to
perform all surface functions. To set passcodes, press the Options Tab and
choose User Config from the AVAILABLE OPTIONS scroll down list.
All four end user modes can
have their permission levels modified by any user with permission
to do so. This is done by pressing
the GUI Options tab and choosing
Access Authorization from the
AVAILABLE OPTIONS scroll
down list to bring up the Access
Authorization dialog box. Personnel with the designated authority
to set the permission levels should
spend some time with this dialog
box and experiment to see what
levels of authority can be granted
or denied.
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To log in to a given mode, press the surface’s PASS CODE
button or press the button on the lower left corner of the VGA
screen that displays the current ACCESS AUTHORIZATION
level.
ACCESS AUTHORIZATION
This brings up the PASSCODE ACCESS dialog box. Use the mouse pad to
select the desired mode, then enter the password for that mode. The default
password for all four end user modes is “111”, and can be changed for each mode
by any user who knows the password for that mode. This can be done by clicking
the EDIT button on the PASSCODE ACCESS form to bring up the EDIT
PASSCODE box, where you enter the old (current) passcode and then enter the new
passcode twice and click OK to effect the change.
Password
Defaults:
“111” for
all users.
Once a given control mode is selected for a surface, that setting will persist
through a power cycle or surface reset.
View/Proc Button
Pressing the VIEW/PROC button switches the display to the Presets Tab. The
Presets Tab acts as a file manager for parameter presets. “Presets” on the E-6 are
simply snapshots of parameters that may be saved, recalled, and applied to
individual fader strips or source signals. You can Save and Load individual EQ,
Dynamics, or Processor (EQ+Dyn) Types directly to faders and Sources from the
Inputs Tab. The ALL Type lets you copy the entire channel strip and paste the
settings to any other channel strip using Preset Load on the Inputs Tab. Access to
this feature can be limited within a control mode and thus, effectively, password
protected.
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Presets Tab Functions
TYPE - this drop down category list lets
you select the preset type: Mode, Pan, Aux
Sends, EQ, Dynamics, Processor, or All.
SELECTED PRESET - this drop down
list lets you select one of the presets in the
chosen TYPE to edit or delete.
COPY FROM CH - use with NEW to
select which fader channel you wish to copy
from.
NEW - creates a new Preset in the chosen category. Parameters copied from the
COPY FROM CH channel. The virtual
keyboard opens to name the new Preset.
RENAME - opens the virtual keyboard
to rename the SELECTED PRESET.
PRESETS List - this window displays a
list of Presets in the current TYPE.
CHANNEL ASSOCIATIONS List - displays which faders are mapped to
Presets of the selected TYPE.
SOURCE ASSOCIATIONS List - displays which Sources are mapped to
Presets of the selected TYPE.
DELETE - You may use the DELETE buttons under
each association list to remove the Preset or Channel /
Source associations. Deleted Presets may NOT be restored.
Copy a Preset From Channel
Choose the channel with the presets you want to copy
from the COPY FROM CH drop down list, then click on
the NEW button to display the virtual keyboard. Type a
name for the new preset and click SAVE.
Load a Preset
Press the Input tab and click the LOAD
button on the bottom of the Input screen to
display the PRESET LOAD screen. Choose
the PRESET TYPE, highlight the desired
preset, and press LOAD.
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Save
The user can save all adjustments with the SAVE button.
Pressing the SAVE button will bring up the “SAVE TO” form
that allows all changes to be saved to a channel, a source, an
event, or a preset.
Switched Meters
The control surface includes a switched meter on the
Main Tab. The switched meter displays the signal level of a
user selected source - any source on the router- or the CUE
signal level when an input fader’s CUE switch is activated
(but see below to disable this Auto-Cue function). Pressing
the METER button will switch the screen to the Main Tab if
it is not there already.
The switched meter display
shows the signal source name at
the top. Click on this name to
bring up the
source selection
window and
change the signal as desired.
A METERS
setting on the
Option Tab allows you to turn
off Auto-Cue to
this meter.
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Route
The password protected ROUTE button has two functions:
• When a SET button on an input strip is pressed, it
displays all input signals for this channel (as shown on the
right below), allowing the operator to select a new source.
• When no SET button is pressed, it opens a screen
showing a full Matrix List of input sources and locations for
quick source selection on a fader, or for making other
connections within the system. Subject to Permissions file
settings.
E-6 Mixer Inputs
E-6 Mixer Outputs
The XPoint matrix is analagous to an electronic patch bay. Audio sources
(router inputs) are located along the X axis at the top, audio destinations
(router outputs) are vertically stacked along the Y axis on the left side. Simply
click at the intersection of the desired Source and Destination signals to
“patch” them. All surface mixes (eg. PGM busses, MixMinus, Aux sends,
etc.) appear as Sources, usually beginning at signal ID1001. All surface inputs
(faders, talk back, monitor source selects, etc.) appear as destinations, also
beginning at signal ID1001. Surface signals may be routed just like any user
i/o.
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Timer Section
The control surface timer is provided with an
AUTO-RESTART function so that programmed (via
the GUI) input modules can automatically reset the
timer display (located on the upper-left side of the
main E-6 GUI screen) to zero and start a new count,
allowing the announcer to easily track his own pace. The AUTO button on
the Monitor Panel must be lit to enable this function.
The S/S (start/stop) button halts the timer, holds the last count, and then
restarts and accumulates the count when depressed again—perfect for compiling tapes of desired duration.
RESET has a dual-mode capability:
- if you depress it while the timer is counting, the display will instantly
reset to zero and start a fresh count;
- if the timer is already stopped, depressing this button will reset the timer
to zero, where it will hold until start is pressed.
The HOLD button allows you to hold the display for a longer viewing
duration, while still allowing the counter to continue in the background.
Releasing the button will then display the current count.
Time of Day Clock
The main Embedded E-6 GUI
screen includes the digital and analog displays of a time of day clock in
12 or 24 hour format. 12/24 operation is set by making the desired
choice on the Options Tab - Misc
Options.
To set the time on this clock, run
the Wheatstone utility program,
WSTimeSet.exe, on a network computer. The program allows you to
set the clocks on multiple control
surfaces by specifying the IP addresses of the control surfaces in a
list. A single command then updates all specified clocks. Program
options allow auto updating at midnight or at the top of the hour. See
Appendix 1 for details. The time of
day is read from the PC’s time of
day clock so the PC must be kept synchronized to a network time server, GPS
clock, master clock system, etc.
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Programmable Buttons
Also known as “Spare buttons,” these fourteen (14) switches and indicating LEDs are
designed to perform user-programmable functions. Some functions, such as firing Salvos,
making temporary connections, or interfacing
with the logic input and output ports on system
Logic I/O cards, must be configured through
the Windows™ XPoint application. See the
E-Series Network System manual for details.
Some of the spare button programming can
be done via the E-6 GUI. Press the Options tab
and choose Programmable Buttons from the
AVAILABLE OPTIONS scroll down list to
display the Programmable Buttons form. You
will see a separate line on the form for each of
the 14 buttons; each line has a drop down mode
selector, a FLASH button, and an EDIT button.
• Mode selection - the spare buttons can be
operated in various modes:
• None - in this mode button
presses are ignored - the
button LED is controlled by
DIO, which simply means
that the LED can be turned
on and off by a logic signal
in the E-Series Network System - this control would be
configured in XPoint
• Toggle - in this mode the
button acts like a toggle; one
press turns it on and another
press turns it off - the button’s
LED state is controlled by
the surface, with the LED lit
when the button is on and
unlit when the button is off the actual function performed by the button is configured in XPoint
• Momentary / Surface LED
- in this mode the button has
a momentary action; it is on
while pressed and off when
released - the button’s LED
is controlled by the surface, with the LED on while the button is pressed
and off when it is not being pressed - the actual function performed by
the button is configured in XPoint
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• Momentary / DIO LED - in this mode the button has a momentary action,
with its function configured in XPoint - the button LED is controlled by a
system DIO which is also configured in XPoint
• Software Controlled - in this mode the button’s function is set up by the E-6
GUI using the EDIT button, as described below - the LED is controlled by
the surface and is on while the button is pressed and off when released
• FLASH - press this button to make a particular spare button flash - this helps
you see which button you are programming
• EDIT - this button is only active when the spare button mode is “Software
Controlled” - in all other modes it is grayed out - when active, this button brings
up the Monitor - Pgm Button Y form.
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VDIP Settings
Many surface functions, such as Mute, Tally,
and Machine Start Pulsed, are programmed
from the VDIP Screen. VDip settings are attributes of the Source signal and will follow the
signal onto different faders of the same console
or even other surfaces, depending on how it is
programmed. You may configure VDip from
the E-6 directly or by using the VDip dialog box
in XPoint software. It is convenient to configure VDip right on the E-6, but you may have to
use XPoint if you have other surface models.
To configure VDip on the E-6, first make
sure that the source you need to program with
VDip is assigned to an input fader. Press the
fader’s SET button and the Input Tab will open
to the last screen used. Select VDip from the
Button Bar at the bottom. Make sure USE
DEFAULTS is NO if you want this signal to
work differently than the default settings, and
then simply check the functions for this signal. If USE DEFAULTS is set to
YES, that signal will use the default settings. Once you have the settings you
want, click APPLY.
To load other signals you want to to change the settings of, press another
fader’s SET button or click the SIGNAL button and choose which signal to load
from the Signal List.
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Click DEFAULT to change settings you want to be the same for ALL signals The
default settings form then shows the default values used for any signal unless
specifically overridden. If you have made changes and then decided you don’t want to
put the changes into effect, click RESET. This will cancel any changes you made since
entering the screen or since clicking APPLY, whichever happened most recently.
PFL/CUE Dropout—When a channel’s CUE button is pressed it will assign the
channel’s signal to the CUE bus. When “PFL/CUE Dropout” is checked it causes the
channel’s CUE function to be de-activated whenever the channel ON switch is pressed.
EFS—This function causes the channel to be OFF when the fader is fully down or ON
when the fader is brought up from the fully down position. The ON and OFF switches
can still control the channel.
Fader Cue—Assigns the signal to the Cue bus when the fader is moved all the way
down. The CUE button can still be used to change the CUE status.
PGM D Pre Fader—When checked, causes the signal, when assigned to the surface’s
PGM D output, to be tapped before the fader.
PGM D Pre On—When checked, causes the signal, when assigned to the surface’s
PGM D output, to be tapped before the channel ON switch.
Timer Restart—The surface’s digital timer can be programmed to automatically reset
to zero and begin counting up when the channel’s ON button is pressed. To enable this
function the AUTO button in the timer section of the Monitor Panel has to be activated.
Machine Start Pulsed—This setting allows you to correct for differing source
machine ON/OFF control signals to the input channel. The input channel will work with
most standard source machines. Occasionally, the source machine, because of the way
it is designed, will send overly long control closures to the channel's remote ON and
OFF ports - closures so long that they will hang up the module's ON/OFF logic. When
this kind of problem manifests itself, setting to "Machine Start Pulsed" will convert the
closures to pulses before they get to the channel ON/OFF switch logic.
Remote Ready—The channel’s OFF switch normally has its LED indicator controlled
by the switch itself. This is the factory default setting. When “Remote Ready” is
checked, the channel’s OFF switch LED can be controlled by an external source
machine. This requires additional configuration in XPoint to fully implement the
feature.
STUDIO MUTES—Input channels can be programmed to mute the various monitors
when the channel is ON. There are five STUDIO MUTES checkboxes, one for each
monitor section plus one for CUE. The checked boxes show which speakers are muted.
STUDIO TALLIES—Turning the channel ON can activate a remote tally indicator.
There are four tally control lines. The checked boxes show which tallies are activated.
This requires additional configuration in XPoint to fully implement the feature.
BUS MINUS PRE FADER—Sets the input signal sent to the Bus Minus system to be
pre-fader. If this box is unchecked it is post-fader. SET ALL will put checks in all the
checkboxes in this area, and CLEAR will remove checks from all the checkboxes in this
area.
BUS MINUS PRE ON—Determines if the input signal sent to the Bus Minus system
follows the channel ON switch. If this box is checked the signal is sent regardless of the
channel ON status. SET ALL will put checks in all the checkboxes in this area, and
CLEAR will remove checks from all the checkboxes in this area.
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Machine Logic
The surface’s start/stop logic options can be selected via the E-6 GUI. Press
the Options tab and choose Misc Options from the AVAILABLE OPTIONS
scroll down list to display MACHINE LOGIC choices.
The purpose of this option
is to allow the privileged operator to determine the conditions under which START and
STOP signals (referred to
herein collectively as DIO signals) are sent in response to a
command to turn a channel ON
or OFF. Channel ON and OFF
commands can come from
three different sources:
• Surface - a channel can be
turned ON or OFF by a
surface action, such as
pressing the ON or OFF
switch, or moving a fader if
EFS has been enabled
• Remote (RMT) - a channel can be turned ON or
OFF by sending it a command from a system Logic
I/O card via the RemOn
and RemOff functions,
configurable from within
XPoint
• Automation Control Interface (ACI) - various automation systems are
capable of sending ACI signals to the system via Ethernet to turn channels ON
and OFF (and perform other functions as well).
There are four possible start/stop options:
DIO Always—START and STOP (DIO) signals are always sent in response
to channel ON and OFF commands, regardless of the source.
No DIO w/ACI—DIO signals are blocked if the channel ON and OFF
commands are from an automation system (ACI).
No DIO w/RMT—DIO signals are blocked if the channel ON and OFF
commands are initiated from a system Logic I/O card.
No DIO w/ACI or RMT—DIO signals are blocked if the source of channel
ON and OFF commands is either automation or Logic I/O.
Note that DIO signals are always issued if the corresponding channel ON or
OFF command is initiated by a surface control.
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GRAPHICAL
DISPLAY
EQ Controls
CONTROL AREA
Value
Windows
Press a fader’s SET button and the Input Tab opens. Click the EQ button
on the Button Bar at the bottom of the Input screen to display the EQ screen.
To change parameters in the Control Area, click on the Value Window for
the parameter you wish to change. Then use the INPUT SOURCE knob on the
Master Panel to turn the value up or down as desired. You can also click on the
parameter’s slider and move it up or down.
In the upper part of the screen are the graphical EQ display and VU meters.
The standard audio frequency of 20Hz – 20kHz is ranged in logarithmic form
across this graph with gradations at salient frequencies. The vertical axis scale
range is -15dB - +15dB, with gradations every 3dB.
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 the input level bargraph.
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.
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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 (ENABLED switch).
Filter
HPF (High-Pass Filter) - This is a 24dB/octave variable high-pass filter with
Butterworth characteristics, tunable between 16.1Hz and 500Hz, and with a
separate in/out switch (HI PASS button). 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 program.
LPF (Low-Pass Filter) - This is a 24dB/octave variable low-pass filter with
Butterworth characteristics, tunable between 1KHz and 20.2KHz, and with a
separate in/out switch (LO PASS button). This filter is used to remove unwanted
high frequency artifacts (noise, squeaks, etc.) with minimal effect on the required
program.
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 (activated by the LO SHELF button) 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 (activated by the HI
SHELF button) 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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GRAPHICAL
DISPLAY
Dynamics Processing Controls
CONTROL AREA
Value
Windows
Press a fader’s SET button and the Inputs Tab opens. Click the Dynamics
button on the Button Bar at the bottom of the Input screen to display the Dynamics
control section.
To change parameters in the Control Area, click on the value window for the
parameter you wish to change. Then use the INPUT SOURCE knob on the Master
Panel to turn the value up or down as desired. You can also click on the parameter’s
slider and move it up or down.
In the upper part of the screen are the graphical dynamics display that shows
an input/output transfer function plot, and VU and GR meters.
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
the input level bargraph.
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Compressor Settings
The compressor algorithm used in the E-6 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 E-6 compressor section is a compound of many diverse
dynamics elements.
The level detector is a pseudo-RMS averaging type with its own symmetrical-in-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 nouveau-classic “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; this allows for this carefullycontrived 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.
The compressor is “soft-knee,” meaning the compression ratio
increases slowly with increasing applied level, greatly easing the sonic
transition into full compression; it helps avoid the “snatching” and “pumping” at threshold that many “hard-knee” dynamics units exhibit.
A full range of controls is available to affect the compressor’s behavior:
COMPRESSOR — A switch that allows the compressor to be enabled
and disabled.
GAIN — controls the input gain of the signal on this fader. For Mic input
the range is from 20dB to 80dB; for Line level input the range is from -18dB
to +12dB.
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THRESH (-40.0dB - +10.0dB) — Threshold, the level above which gain
reduction is applied.
RATIO (1.00:1 - 20.0:1) — The proportion by which a signal exceeding the
threshold is reduced in level. “3:1” 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 - 3.000 S) — The speed with which the compressor
recovers as the exciting input signal reduces or disappears.
MAKEUP (0.0dB - 36.0 dB) — 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.
Expander Settings
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/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 gainreduction reduces as the threshold is approached, and there is none above the
threshold.
The controls are:
EXPANDER — A switch that allows the expander to be enabled and disabled.
THRESH (-60.0dB - 0.0dB) — The level below which the automatic attenuation starts to take effect.
RATIO (1:1.0 - 1:5.0) — 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.
E-6 / Dec 2007
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MASTER PANEL
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.
A graphical input/output plot at the top of the Dynamics screen shows the
combined effects of the compressor and expander on the signal.
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: 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.
E-6 / Dec 2007
page 41
MASTER PANEL
Save Option
The user can save all adjustments for the compressor, expander, and
equalizer with the SAVE button. Pressing the SAVE button will bring up
the “SAVE TO” form that allows all changes to be saved to a channel, a
source, an event, the headphones, or a preset.
E-6 / Dec 2007
page 42
MASTER PANEL
Optional Glass E Interface
Wheatstone offers the optional
PC-based software, called “Wheatstone Glass E Virtual Control Surface,” that controls the E-6 surface
from a remote PC. The Windows
XP-based PC software accesses remotely through a LAN/WAN. It
brings studio control surfaces anywhere in the world under remote
control of an internet-connected PC.
Glass E is a graphical replication of
the control surface to which it is
assigned. All surface functions and
features are accessed by the Glass
E. The surface presets, system X-Y
access, system programming, and
configuration are password protected.
Before you can run the GLASS
E software to control a particular
surface, that surface needs to be set
up to allow the Glass E interface to
function. In the E-6 GUI press the
Options Tab and choose Misc Options from the AVAILABLE OPTIONS scroll down list to display the screen that
has the Glass E interface options. Enter a Port number (the default is 49152), a
Username, and a Password (see the example screen above), then click APPLY. The
surface is now ready to host a link to the Glass E software.
On the PC that’s running the Glass E software, start the software. You should
see the following screen:
E-6 / Dec
Jan 2009
2007
page 43
MASTER PANEL
Enter the surface’s IP address and the Port, User name, and Password
you previously set up at the E-6, and you should then see the following two
screens on the PC running Glass E:
The first screen is a duplicate of the E-6 GUI as it appears on the surface’s VGA
screen. All controls and functions of the GUI that have
been described in chapters 2
and 3 of this manual work the
same on this Glass E screen.
The second screen is a replication of the actual surface
panels, and is operated in much
the same fashion as the actual
physical controls in the surface.
E-6 / May
Dec 2007
2008
page 44
Meter Labels
Click label windows to rename
Function Tabs
Functions display:
Clock, timer, current event, and
switched meter
Program meters
Click on EXT windows to choose source
Channel Select / Status
Buttons
Monitor Controls
Access Authorization
E-6 / Jan
Dec 2009
2007
E-6 GUI Main Tab Screen Controls
page 45
Click on PROGRAMMABLE
window to program buttons at
the top of the fader
Click here to change
the source
Pressing fader’s SET switch
automatically opens the Input Tab
Meter labels
click to rename
A typical Input Tab
Easily create up to 4 stereo aux sends for
remotes, voice tracking and effects
Drag PAN slider or use Pan Pot
Button Bar
CHANNEL STATUS
buttons show ON/OFF,
EQ IN, etc.
Use “Monitor Config” in the OPTIONS tab
to lock monitor levels feeding amplifiers.
Separate password
protected login for
engineers, jocks, interns.
MUTE labels let you see
when speakers are
muted.
E-6 / Jan
Dec 2009
2007
E-6 GUI Input Tab Screen Controls
page 46
AUX MASTERS — Separate
ON/OFF and master volume
for each Aux bus
Select this tab for master control of
Aux Sends + MixMinus
Input channel Pre-Fader and Pre-0n/Off
are global for MXM bus
Adds MXM assign attribute to source signals. For
example, if you have a source called ISDN1 and
you assign it to MXM 2, 3, 4 but not MXM1, you
can move ISDN1 to any fader and it will automatically get assigned to the desired MXM signals —
cool!
Invert LED’s — When you say YES all input fader
sources automatically feed all 4 MXM busses.
Now all you have to do is press the MXM assign
switch to “drop” a source out of an MXM bus. In
this mode, when the MXM LED is lit, the audio on
that fader is NOT going to the bus. It is very easy
to see which faders are “minused” out.
E-6 / Jan
Dec 2009
2007
E-6 GUI Aux/MixMinus Tab Screen Controls
page 47
Click here to open Preset Manager tab
Use the TYPE drop down
list to pick a category
• Use this tab to view, rename, copy presets
• TIP—Use the Input Tab and SAVE on the
Button Bar to save a new preset
Shows which fader strips have the
selected preset applied to them
Shows which sources have the
selected preset applied to them
E-6 / Jan
Dec 2009
2007
E-6 GUI Presets Tab Screen Controls
page 48
Events Manager tab — “Events” are snapshots of the entire control surface. All
faders, switches, sources, EQ, Dyn, etc. are
stored and recalled.
Last event taken
Event Recall
To recall an event:
• click on event name
• click ARM
• click TAKE
• click UNDO to go back
Event Editor
This section lets you manage:
NEW—Save current surface state to a new event.
SAVE TO—Lets you save current surface state to an
existing event.
RENAME—3 guesses? Just click on the event name,
the virtual keyboard opens up.
DELETE—Just click on the event name, click
DELETE and confirm.
E-6 / Jan
Dec 2009
2007
E-6 GUI Events Tab Screen Controls
page 49
Options Manager tab — Provides access to a
whole host of system options. Some are self
explanatory, but see the Options Details
section for details.
E-6 / Jan
Dec 2009
2007
E-6 GUI Options Tab Screen Controls
page 50
Choose fader sources
Press SET on a fader to open main
INPUT screen
Setup Programmable Buttons
Use the Button Bar to navigate
various input screens
EQ
E-6 / Jan 2009
Dynamics
VDIP
E-6 GUI Input Tab Screens
Preset Load
Preset Sa
page 51
Access Authorization
User Configuration
Programmable Buttons
Crosspoint Visibility
Network Settings
Miscellaneous Options
VDIP Settings
Source Visibility
Monitor Configuration
This screen available only for the system
with WheatNet-IP engine BLADE.
E-6 / Apr 2009
E-6 GUI Options Tab Screens
page 52