User Guide (cuestation_ug_a)

User Guide (cuestation_ug_a)
USER GUIDE
CREATE
CueStation 5.5 
Keep these important operating instructions.
Check www.meyersound.com for updates.
© 2015 Meyer Sound Laboratories
CueStation 5.5 User Guide, PN 05.176.107.01 A
The contents of this manual are furnished for informational purposes only, are subject to change without
notice, and should not be construed as a commitment by Meyer Sound Laboratories Inc. Meyer Sound
assumes no responsibility or liability for any errors or inaccuracies that may appear in this manual.
Except as permitted by applicable copyright law, no part of this publication may be reproduced, stored in
a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording or otherwise, without prior written permission from Meyer Sound.
CueStation, CueConsole, VRAS, Wild Tracks, and all alpha-numeric designations for Meyer Sound products
are trademarks of Meyer Sound. Constellation, D-Mitri, SpaceMap, Meyer Sound and the Meyer Sound wave
logo are registered trademarks of Meyer Sound Laboratories Inc. (Reg. U.S. Pat. & Tm. Off.). All third-party
trademarks mentioned herein are the property of their respective trademark holders.
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CONTENTS
Introduction
How to Use This Manual
CueStation
Chapter 1: D-Mitri and CueStation
D-Mitri System Components
CueStation Interface
CueStation Audio Signal Flow
Chapter 2: Mixer Configuration
Configuring a D-Mitri System
Connecting to the D-Mitri System
Mixer Configuration Window
Configuring D-Mitri Backup Modules
Testing a Configuration
Chapter 3: Working Offline with VirtualD-Mitri
VirtualD-Mitri Window
Virtual CueConsole
Chapter 4: CueStation Mixer Controls
Inputs Window
Fader Level Control
Global Controls
Bus Masters
Output Masters
Aux Masters
Listen Masters
Virtual Groups
Grand Master
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CONTENTS
Chapter 5: Matrix Window
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Bus and Output Controls
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Chapter 6: Signal Processing Controls
Processing Channel Strips
Keyboard and Mouse Commands
User Traces
Chapter 7: Monitoring D-Mitri Systems
CueStation Connection Status
Log Window
System Status Window
Channel Meters
Chapter 8: CueStation Automation
Control Hierarchy
Automation Basics
Channel Select
Capturing Cues
Capture Window Tabs
Custom Subcue Types
Building a Cue List
Transport Window
Cue List Players
Editing Cues
Capture Differences and Update Subcues
Cue and Subcue Libraries
Command Subcues
Chapter 9: SpaceMap
Elements of SpaceMap
Types of Nodes
SpaceMap Controls
Creating a SpaceMap
Creating Trajectories
Creating SpaceMap Trajectory Subcues
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CUESTATION 5.5 USER GUIDE
Chapter 10: Wild Tracks
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Wild Tracks Window
Wild Tracks Entries
Wild Tracks Subcues
Optimizing Wild Tracks
Regions, Loops, and Vamping
Advanced Techniques
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Chapter 11: VRAS Processing
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User Interface
VRAS Subcues
Chapter 12: Managing CueStation Files
Saving Files
Opening Files
Merging Projects
Chapter 13: Customizing CueStation
Page Group Controls
Layouts
Custom Utility Buttons
Key Mappings Window
Project Notes and Reports
Chat and Paging
Chapter 14: Setting System Access Policies
Creating Access Policies
Securing the System
Recovering Lost Passwords
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Appendix A: D-Mitri Client/Server System
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Appendix B: CueStation Keyboard Shortcuts
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Appendix C: D-Mitri Text Commands
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Appendix D: OS X Preparation
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Index
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CONTENTS
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CUESTATION 5.5 USER GUIDE
INTRODUCTION
HOW TO USE THIS MANUAL
Make sure to read these instructions in their entirety before configuring a CueStation system.
In particular, pay close attention to material related to safety issues.
As you read these instructions, you will encounter the following icons for notes, tips, and cautions:
NOTE: A note identifies an important or useful piece of information relating to the
topic under discussion.
TIP: A tip offers a helpful tip relevant to the topic at hand.
CAUTION: A caution gives notice that an action may have serious consequences and could cause harm to equipment or personnel, or could cause
delays or other problems.
!
Information and specifications are subject to change. Updates and supplementary information
are available at www.meyersound.com.
Meyer Sound Technical Support is available at:
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Tel: +1 510 486.1166
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Tel: +1 510 486.0657 (after hours support)
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Web: www.meyersound.com/support
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Email: [email protected]
CUESTATION
CueStation™ is the software interface to the D-Mitri audio system. It offers a graphic user
interface that emulates a familiar mixing console and combines it with a cue-based automation system that is designed to integrate easily into theatrical, theme park, and other show
control situations.
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INTRODUCTION
This manual is designed primarily to serve as a reference document. It contains some tutorial
information, but is not intended as comprehensive guidance for project development.
Meyer Sound offers classroom training courses to provide users a thorough grounding in
D-Mitri system design and in CueStation project development for D-Mitri systems.
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CHAPTER 1: D-MITRI AND CUESTATION
This chapter briefly describes the components in a D-Mitri system, and how they fit together.
D-MITRI SYSTEM COMPONENTS
The D-Mitri audio platform consists of a collection of D-Mitri modules, supporting hardware,
and software to control and coordinate the hardware:
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D-Mitri Hardware
A D-Mitri system consists of at least one D-Mitri Core Processor (DCP) module, and several other modules of various types. Each module package should include a power cable
and a copy of the D-Mitri Safety, Environmental, and Regulatory Information pamphlet.
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Supporting Hardware
Supporting hardware for a D-Mitri system includes:
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A computer to run CueStation, under Mac OS X 10.6 or later or Windows 7
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Network infrastructure for the D-Mitri modules to transport audio and control data.
D-Mitri System Software
The D-Mitri software components are:
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D-Mitri Universal Firmware
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CueStation software
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CueStation Release Notes (PDF file)
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CueStation User Guide (PDF file)
CUESTATION INTERFACE
CueStation models the controls of an analog mixing console in a graphical user interface,
augmenting the console model through the use of data entry fields and tables. To make this
kind of representation operate efficiently, CueStation apportions the functions of the console
among a collection of functionally specific windows.
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CHAPTER 1: D-MITRI AND CUESTATION
Most CueStation windows fall into one of two main categories: mixer programming controls,
which look more or less like a conventional mixer, and automation windows that support the
creation and organization of cues and cue lists.
The automation windows also allow control over how the control surface settings are captured
into cues, the editing of cues, and putting cues into a cue list for a show.
Other windows, such as Access Policies or Key Mappings, provide an interface for configuring how you use CueStation. The next chapter provides a walk-through of some of the basic
functions and features of CueStation.
CUESTATION AUDIO SIGNAL FLOW
A complete internal signal path can be viewed in CueStation on a per-channel basis. In each
CueStation window that represents a point in the audio signal path of a D-Mitri system, a set
of Signal Path buttons is displayed.
Signal Path Buttons
Click an arrow button to open the CueStation window for the previous or next point in the signal path. Click the blue info button to open the Signal Path window. The Signal Path window
shows the signal path for the currently selected channel. The current point in the path is highlighted, and shortcuts are displayed for all points. When passing signal for the selected channel, the various buttons illuminate in green.
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CUESTATION 5.5 USER GUIDE
Signal Path Window
To navigate the Signal Path window:
1. Drag the scrollbar at the bottom of the Signal Path window to change the displayed channel. The displayed channel can also be changed by clicking the arrow buttons adjacent to
the scrollbar, or right-clicking the purple Channel display.
2. To open the corresponding window for any point in the signal path, do one of the following:
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Click any point in the displayed path.
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Use the keyboard shortcut displayed for any point in the displayed path.
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CHAPTER 1: D-MITRI AND CUESTATION
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CHAPTER 2: MIXER CONFIGURATION
This chapter introduces the concept of D-Mitri mixer configuration. It describes what a mixer
configuration is, and shows how to create a configuration that can quickly connect CueStation
to an actual or virtual D-Mitri system.
CueStation has been designed to make the configuration as transparent as possible after the
initial setup. When using CueStation with a configured system, you never have to worry about
which channel is on which module, or about routing signal from one D-Mitri module to
another. The entire system works as a unit.
CONFIGURING A D-MITRI SYSTEM
CueStation’s Mixer Configuration is a digital representation of all modules in a D-Mitri system.
Every time the D-Mitri system is turned on or power cycled, it must receive a valid configuration before audio can be processed.
A configuration contains the following information:
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The number of D-Mitri modules in the system
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The type and number of modules available
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VLAN IDs and Switch Port settings
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The number of buses, bus assigns, and VGroups
For each I/O module:
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The range of channels used by the module, and in some cases, the type of channels
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The host DCP module
A valid configuration never duplicates channel numbers per channel type (e.g., two inputs
cannot be simultaneously mapped to channel 10). A configuration can be loaded automatically at power on if a project is saved to flash memory. A configuration can also be sent from a
CueStation client as part of a project file.
If one D-Mitri module within a larger system goes offline, the configuration is automatically resent to Processor modules once the system has reconnected.
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CHAPTER 2: MIXER CONFIGURATION
The following section describes how to configure the system using the Mixer Configuration
window.
CONNECTING TO THE D-MITRI SYSTEM
You can try your hand at conducting a bit of simple mixer configuration by connecting to a
D-Mitri system or to VirtualD-Mitri. Follow these steps to make the connection:
1. Connect your CueStation client computer to the D-Mitri control network.
2. In CueStation, choose Network > Connect to open the Connection Manager window.
3. Select a D-Mitri system (or VirtualD-Mitri) from the list, and click Connect (all windows).
Connection Manager Window
TIP: To quickly connect individual CueStation windows to a D-Mitri system, system names can be dragged from the Connection Manager window onto any other
CueStation window.
CueStation connects to the selected D-Mitri system, or to VirtualD-Mitri, which emulates a
D-Mitri system. CueStation window title bars reflect the name of the connected system.
Configurations in D-Mitri Flash Memory
Meyer Sound provides a configuration file for your system that is stored in the flash memory of
system Processor modules.
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CUESTATION 5.5 USER GUIDE
To configure the system:
1. Open CueStation.
2. Choose Network > Connect. Select your system from the list, then click Connect (all windows).
3. Choose Windows > Mixer Configuration to open the Mixer Configuration window. If you
are running CueStation for the first time, the Mixer Configuration window opens by default.
4. Choose Projects > Open Project from Flash.
5. Enable the Load Project and Send Configuration options, then click Open. CueStation
loads the configuration stored in the Processor module flash memory and sends the configuration to the D-Mitri system.
6. Verify that the GNet Switch port settings in the System Configuration pane match the system diagram provided by Meyer Sound.
7. Choose Projects > Save Project As to save a copy of your configuration to the computer
running CueStation.
If you are working offline with VirtualD-Mitri, hardware must be added manually.
Manually Configuring Modules
To manually configure your system:
1. Open CueStation, then connect to the system you are configuring.
2. Choose Windows > Mixer Configuration to open the Mixer Configuration window. If you
are running CueStation for the first time, the Mixer Configuration window is the window
that first appears when CueStation opens.
3. Instruct CueStation to detect what hardware is installed.
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Configuration > Query Hardware for Configuration populates the System Configuration
pane with all modules detected in the D-Mitri system. Query Hardware for Configuration
does not detect I/O modules that are not part of the active configuration.
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The Auto-Setup button configures all detected I/O points to default.
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If CueStation is connected to VirtualD-Mitri, modules must be added to the project by
choosing Modules > New Module.
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CHAPTER 2: MIXER CONFIGURATION
TIP: Modules can also be added to the configuration by dragging entries from the
Module Types pane into the System Configuration pane.
4. An alert is displayed if the selected configuration does not match the active configuration.
Click Details for more information about the differences between configurations.
Sending a Configuration to a D-Mitri System
Click Send Config in the upper right corner of the Mixer Configuration window to send a completed configuration to the D-Mitri system. A D-Mitri configuration does not take effect until
you send it to the modules in your system.
CueStation posts a notification in its Log window that the configuration has been sent. If the
system is running a configuration that has previously generated warnings, the System Status
icon displays a warning to indicate a problematic configuration. The CueStation mixer windows show faders and other controls corresponding to the configuration.
Project Title
Projects are assigned titles that display in the CueStation windows. Project titles are independent of dmitriProject file names.
To enter or change a Project Title:
1. Choose Projects > Set Project Title.
2. Enter a new title.
3. Press Enter or click OK.
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CUESTATION 5.5 USER GUIDE
MIXER CONFIGURATION WINDOW
The Mixer Configuration Window features three tabs: Modules, Aliases, and Event Triggers.
Mixer Configuration Window, Modules Tab
Though most of the information the Mixer Configuration window provides is specific to each
of the tabs, the window does offer several persistent controls in the border areas outside the
tab fields, as described in the following table.
Control
Description
Send Config button
Sends the current Mixer Window configuration to CueStation.
Config button menu A pull-down menu containing the following functions: New Config, Rename Config,
Duplicate Config, Delete Config, Set Config ID, Lock Config, Unlock Config.
Show
Filters view by I/O point type (All, Input, PAFL, etc.).
# Cue List Players
Enter the total number of cue list players here.
# buses
Enter the total number of buses here.
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CHAPTER 2: MIXER CONFIGURATION
Control
Description
# Assigns
Enter the total number of bus assigns here.
# VGroups
Enter the amount of virtual groups here.
System IP
You can enter an IP address for the system in this text field. Pressing the System IP
button itself opens the System IP Config dialog, with fields for IP Address, Netmask,
and Gateway.
Enable GNet
Failover
Enables use of the secondary Ethernet audio network connection of D-Mitri modules
(AVB 2).
Modules Tab
The Modules tab of the Mixer Configuration window displays three separate panels; Module
Types, System Configuration information, and I/O Points.
The Module Types list contains a list of D-Mitri module types. To add a specific module type to
your configuration, you can drag a module type name from the list into the adjacent System
Configuration table.
The System Configuration table in the Modules tab displays the modules in your configuration
and displays each module’s networking configuration. The System Configuration table contains the following default columns.
Field
Description
Processing
Gauge
Displays a visual graph of the allocated resources for each DCP:
Module Type
The Module Type is shown when an entry is created. Must match the physical module for
the configuration to work properly.
Name
Displays the module name. Module Name must match the name programmed into the
module.
Unit
Automatically assigned unit name to distinguish between multiple processing units. Value
can be changed.
TX VLAN
Provides a field for you to enter the selected module’s GNet transmission VLAN.
RX VLANs
Provides a field for you to set the selected module’s GNet reception VLANs.
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Green indicates the allocated inputs.
Orange indicates the allocated buses.
Purple indicates the allocated outputs.
CUESTATION 5.5 USER GUIDE
Field
Description
GNet Switch Port
Provides a field for you to set the selected module’s GNet Switch Port.
Comment
Provides an area for you to enter text comments about a module.
Status
Displays module status. Values are Emulated, Online, or Offline.
The I/O Points table in the Modules tab displays the input and output information for each
module in the chosen D-Mitri system. I/O Points that lack corresponding modules in the Modules table are highlighted in red.
The I/O Points table contains the following default columns.
Field
Description
I/O Type
The type of the I/O point is automatically assigned during configuration.
Index
The index number of the I/O point is automatically assigned during configuration.
I/O Location
The location of the I/O point is automatically assigned during configuration.
Processor
Shows a number from 1–4 to indicate which DCP processes the I/O point.
Default Label
Provides a field for you to set the selected module’s GNet reception VLANs.
Comment
Provides an area for you to enter text comments about a module.
Default Label
The default label of the I/O point is automatically assigned during configuration.
CueStation’s Mixer Config window provides a Fill Down function for Modules and I/O Points
column values. To use the Fill Down function:
1. Select a range of entries in the Modules tab or I/O points tab.
2. Right-click in a column and choose Fill Down Selected.
3. In the Specify Initial Default Label dialog, enter a value or comment.
4. Press Enter or click OK.
Each selected item changes to sequentially follow the initial entry.
The contextual menu for the Default Label column also provides an option to reset a selection
of label values to their defaults.
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CHAPTER 2: MIXER CONFIGURATION
NOTE: When manually editing fields, invalid entries are highlighted in pink.
Attempting to send invalid configurations results in a Mixer Configuration warning.
The Modules List displays D-Mitri modules of all connected systems, using a [SystemName.ModuleName] syntax.
Finally, the Modules tab also shows an Auto Setup button, which configures the Mixer Configuration window to the current hardware or virtual setup.
Aliases Tab
The Mixer Configuration window’s Aliases tab displays a list of network address alias definitions for modules in the D-Mitri system. These aliases enable you to refer to D-Mitri modules
and command strings in CueStation by custom names.
Mixer Configuration Window, Aliases Tab
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CUESTATION 5.5 USER GUIDE
The Aliases tab in the Mixer Configuration window displays a table containing the following
default columns.
Field
Description
ID #
The Alias ID number: assigned automatically when the alias is created, but can be changed.
Alias
Alias name. It is assigned automatically when the alias is created, but can be changed.
Expands To
Enter the IP address or command string that is associated with the alias. To expand an alias
to multiple values, separate the values with a comma.
Comment
Provides an area to enter text comments.
Event Triggers Tab
The Mixer Configuration window’s Event Triggers tab provides a place for you to define and
view Event Triggers. Event Triggers specify how the D-Mitri system should respond to incoming event strings, such as MIDI messages. Event Triggers defined in the Event Triggers tab
become active when you send the system configuration to the D-Mitri system using the Mixer
Configuration window’s Send Config button.
Mixer Configuration Window, Event Triggers Tab
Choose Event Triggers > New Event Trigger to add Event Triggers to the list. The Event Triggers menu also contains commands to duplicate and delete Event Triggers.
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CHAPTER 2: MIXER CONFIGURATION
The Mixer Configuration window’s Event Triggers tab displays a table containing the following
default columns.
:
Field
Description
ID#
The Event Trigger number: assigned automatically when the Event Trigger is created,
but can be changed.
Event Patterns
An Event Trigger consists essentially of two parts: the trigger condition and the action to
execute when the condition occurs. The trigger condition can be one of several event
patterns.
Right-click in the event pattern column and select an event pattern template to add an
event pattern to a trigger definition. Template text can be edited directly in the table to
define the event pattern portion of the Event Trigger.
The event pattern templates are:
GPIO #1 DLI #1 Opened
GPIO #1 DLI #1 Closed
Event Patterns
All Notes Off
(cont.)
Note Off
Note On
Polyphonic Key Pressure
Control Change
Program Change
Channel Pressure
Pitch Bend
Text Command
The second half of an Event Trigger is what action the D-Mitri system executes when the
trigger condition occurs. The command to execute can be one of several CueStation
text commands. To assign multiple commands to an Event Trigger, separate them with a
semicolon (for example: log recalling cue; recall cue 5).
Right-click the Text Command field and choose a text command template to add a text
command to a trigger definition. You can then edit the template text directly in the table
to define the text command portion of the Event Trigger.
The text command templates are:
Recall Cue
Recall Subcue
Update Cue
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CUESTATION 5.5 USER GUIDE
Field
Description
Update Subcue
Go Next
Skip To Previous Cue Entry
Skip To Next Cue Entry
Print Message To Log
Set Control Point Value
Send Trigger Event
Send Message To Python Script
Category
Provides a means by which to categorize Event Triggers. Use this field to enter a text
value representing the category to which you want to assign an Event Trigger. Click the
Category column heading to sort the list of Event Triggers by category, or right-click the
Category column heading to filter the display by Category content.
Debounce Period
Specifies a debounce period for the selected Event Trigger, in milliseconds. The
debounce period defines a time during which the trigger only fires once. For example,
entering 500ms in the field would ensure that the trigger doesn’t fire more than twice a
second.
Comment
Provides an area for text comments.
CONFIGURING D-MITRI BACKUP MODULES
It is beneficial to designate a live backup module, which you can set to come online should a
primary module suddenly become disabled or disconnected. Settings on backup modules are
kept in sync with primary modules, assuring that the backup modules come online seamlessly
to assume the tasks of the modules they replace. In D-Mitri systems with multiple DCPs, a
single backup DCP can take over for any one of the primary DCPs.
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CHAPTER 2: MIXER CONFIGURATION
You can use CueStation to designate DCP, DCM-2, DCM-4, and Wild Tracks modules as
backup modules. The following table briefly describes how each kind of backup module
should be set up.
Module
Backup Configuration
DCP
A live backup DCP must be given the unit ID DCP-X in the Mixer Configuration window,
and must be plugged into the last matrix link port, labeled Backup, on a DCM module.
One live backup DCP can stand in for any one of up to 4 primary DCP modules.
DCM-2 or DCM-4
A live backup DCM-2 or DCM-4 must be given the unit ID MTRX-X in the Mixer Configuration window.
Wild Tracks
Both the primary and the live backup Wild Tracks units must be configured with the
same unit ID (though this ID can be whatever you want). Associate I/O Points only with
the primary Wild Tracks module.
Disabling D-Mitri Modules Remotely
D-Mitri modules can be enabled or disabled directly through the System Status window, or by
executing a Set Disabled Modules command with a subcue. Disabling marks the module as
one that should not be used for passing audio, forcing the system to use its assigned backup
modules for audio routing instead.
Status Window Module Enable or Disable
Right-click a module’s Status field to raise a context menu with choices to set the module to
Enabled or Disabled.
Subcue Window Set Disabled Modules Command
The External Command subcue Live Backup can be used to enable or disable the module.
TESTING A CONFIGURATION
Once a configuration has been sent to the CueStation system, it can be tested by generating
test signals with CueStation and with signals created by connected external sources.
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CUESTATION 5.5 USER GUIDE
Testing with Internally Generated Signals
Channel Test functionality is built into the multiple windows in CueStation. This functionality
allows testing of a configuration and connected loudspeakers. Test signals can be generated
at the inputs, outputs, and several other locations in the CueStation signal path.
Channel Test Controls
Channel Test Controls offer the following controls.
Control
Function
Channel Test Set
Sets the range of channels to be tested. Enter a single channel, a range of channels, or choose Reset to All Channels. Individual channels are separated by commas, channel ranges are indicated with hyphens. For example, typing 1,14,36–41
in the field specifies a test for channels 1, 14, and 36 through 41.
Merge/Replace
Toggle whether to merge the chosen test audio with other output in the selected
channels, or to replace the output with the test audio.
Channel Test Type
Determines the type of test audio. Options include Voice, Voice and Pink Noise,
Pink Noise (8 seconds), Log Sweep, and Pink Pulse.
Channel Test Level
Determines the level of generated test signals. This setting operates independently of all level and trim controls in the CueStation signal path.
Start/Stop Test
Begins the test. While the test is running, the Stop Test button ends the test.
Current Channel
Indicates the channel that is currently being tested. Values that are manually
entered in this field act as offsets.
Transport buttons
Used for manual changes to the channel sequence. Test signal can be skipped to
the previous or next channel, looped on the current channel, and paused.
Preparing for a Channel Test
To prepare the CueStation system for a channel test:
1. Choose Windows > Inputs to open the Inputs window.
2. Choose Display > Show Channel Test Controls to reveal the signal generator controls at
the top of the Inputs window.
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CHAPTER 2: MIXER CONFIGURATION
3. Click the Master Input Select button to select all Input channels.
4. Command-click (Mac) or Ctrl-click (Windows) the Unity button on any Input channel to set
all selected channel faders to unity.
5. In the bus assigns section of Input 1, select Bus 1. Repeat for all inputs, cascading the Bus
selection (Input 2 to Bus 2, and so on).
6. Choose Windows > Matrix to open the Matrix window.
7. Choose Matrix > Set Diagonal, Buses, Outputs. A diagonal matrix mix is created with levels set to unity gain.
8. Choose Windows > Output Masters open the Output Masters window.
9. Click the Master Output Select button to select all input channels.
10. Command-click (Mac) or Ctrl-click (Windows) the –inf button on any Input channel to set
all selected channel faders to 
–inf.
11. Choose Windows > Grand Master to open the Grand Master window.
12. Click the Unity buttons for System Level and Trim to set fader levels to Unity.
Running a Channel Test
To test the CueStation system with signal generated by CueStation:
1. Complete the steps detailed in “Preparing for a Channel Test” on page 25.
2. Enter a value in Channel Test Set field to set the range of channels to test.
3. Choose an option from the Channel Test Type menu to set the type of test signal.
4. Enter a Channel Test Level value to set the test signal level in dB.
5. Click Start Test to begin the channel test.
6. Choose Windows > Output Masters to open the Output Masters window.
7. Slowly increase the output fader levels until the test signal is playing back through connected loudspeakers at the necessary level. To adjust the levels of all Output channels
simultaneously, click the Master Output Select button and then hold command (Mac) or
Ctrl (Windows) while adjusting any Output channel fader.
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CUESTATION 5.5 USER GUIDE
TIP: For manual control over the test sequence, use the Cycle button in conjunction with the Skip to Previous Channel and Skip to Next Channel buttons.
Testing with External Signals
External test signals can be fed into the CueStation system’s inputs, then sent to any or all
outputs. The following procedure uses a single input point, Input 1, as an example.
To run audio signal from Input 1 to any number of outputs:
1. Choose Windows > Inputs to open the Inputs window.
2. Click the Unity button for Input 1 to set the fader level to Unity.
3. In the bus assigns section of Input 1, select Bus 1.
4. Choose Windows > Matrix to open the Matrix window.
5. Choose Matrix > Set Diagonal, Buses, Outputs. A diagonal matrix mix is created. All bus
masters and output masters are set to unity.
6. Choose Windows > Grand Master to open the Grand Master window.
7. Click the Unity buttons for System Level and Trim to set fader levels to Unity.
Audio connected to Input 1 is mixed to Output 1. To change the output path, select a different
bus from the bus assigns section of Input 1.
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CHAPTER 2: MIXER CONFIGURATION
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CHAPTER 3: WORKING OFFLINE WITH VIRTUALD-MITRI
CueStation provides a client interface to D-Mitri server modules. VirtualD-Mitri is a softwarebased server component for CueStation. If no actual D-Mitri module is available, or when
experimenting with CueStation without having to connect to an actual D-Mitri module, use VirtualD-Mitri.
CueStation and other clients normally connect to the server running on D-Mitri. When it is
necessary to do cue programming work without having access to hardware, VirtualD-Mitri
provides a simulation of the system.
VIRTUALD-MITRI WINDOW
The VirtualD-Mitri window, when expanded, provides status information and a set of tabs that
allow control of specific server components.
VirtualD-Mitri Window
To Connect to VirtualD-Mitri:
1. Open CueStation.
2. Choose Network > Connect.
3. Select Launch VirtualD-Mitri.
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CHAPTER 3: WORKING OFFLINE WITH VIRTUALD-MITRI
4. Click Connect (all windows).
VirtualD-Mitri launches and CueStation connects to VirtualD-Mitri. CueStation behaves as
though all hardware is connected. Due to the nature of the system simulation, the Query Hardware for Configuration command is not available. In addition, CueStation functions that
involve D-Mitri flash memory are simulated using the client computer’s hard drive.
Main Controls
The VirtualD-Mitri window contains the following controls for configuration.
Control
Function
Show/Hide Details
Expands the VirtualD-Mitri window to display status information, five window
tabs, and various controls. Click Hide Details to reduce the window down to a
minimum size. See “Control Tabs” on page 18 for more information.
System Name
By default, the VirtualD-Mitri is given a system name appended with a number.
This system name can be edited when VirtualD-Mitri has been turned OFF.
Public Server
Enabling the Public Server option allows other CueStation clients on the network
to discover the instance of VirtualD-Mitri. Disabling this option prevents other
CueStation clients on the network from discovering the instance of VirtualD-Mitri.
Regardless of the Public Server setting, CueStation software is able to discover a
VirtualD-Mitri server that is running on the same computer.
Virtual Meters
Enabling the Virtual Meters option will simulate meter activity on all channels for
testing purposes.
Virtual CueConsole
This option enables VirtualD-Mitri to emulate a set of CueConsole2 commands
with on-screen GUI representations of CueConsole2 control surface modules.
See “Virtual CueConsole” on page 32 for more information.
Status Information
System name, version number, memory usage, and build date are displayed near the top of
the VirtualD-Mitri window.
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CUESTATION 5.5 USER GUIDE
Control Tabs
The five VirtualD-Mitri window tabs have different sets of control buttons. Two of these control
the server component background processes, program routines that are responsible for monitoring communications and status, and providing server services.
■
Restart Daemon is enabled only when the background process associated with the
selected tab has been killed. Killing and restarting a background process is basically
equivalent to rebooting that component of the server.
■
Kill Daemon shuts down the background process associated with the selected tab.
■
Scroll Down moves the tab’s scrollbar to the bottom of the message list.
■
Clear Output removes all the messages from the selected tab.
Job Manager
The Job Manager tab contains the output of the djobd daemon, which launches all of the
other daemons and dictates their roles in the system. It's also responsible for restarting the
other daemons if they exit.
Project Database
The Project Database tab lists system messages regarding the database background process, its communication with other background processes, and any project stored within the
database. The database process controls access to subcues, cues, cue lists, and other project components.
Mixer Control
The Mixer Control tab lists system messages regarding the mixer background process, its
communication with other background processes, and the status of various signal mix paths.
The mixer background process is responsible for controlling and adjusting the signal mix.
Audio Processing
The Audio Processing tab contains the dcasld daemon. This daemon maintains the state of
all system control points, as well as related tasks such as cue recalls and cue lists.
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CHAPTER 3: WORKING OFFLINE WITH VIRTUALD-MITRI
CueConsole
The CueConsole tab has controls for the CueConsole background process and lists system
messages pertaining to the process, its communication with other background processes,
and the status of any connected CueConsole modules. The CueConsole background process
is responsible for monitoring and controlling the movement of CueConsole controls. This process is started automatically when VirtualD-Mitri starts. For more information, see “Virtual
CueConsole” on page 32.
VIRTUAL CUECONSOLE
Virtual CueConsole windows emulate a set of CueConsole2 commands with GUI representations of CueConsole2 control surface modules. These windows serve as on-screen representations of the physical units, allowing users to program and test CueConsole2 behavior and
mapping when no CueConsole2 hardware is available for use.
Virtual CueConsole Window (Transporter module shown)
To open Virtual CueConsole:
1. Open CueStation and connect to VirtualD-Mitri.
2. Choose Windows > Commands.
3. Click Add Entry.
4. Right-click the Type field of the new entry and select CueConsole2.
5. Right-click the Command field of the new entry and select one or more of the following:
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CUESTATION 5.5 USER GUIDE
■
Map Editor Module.
■
Map Fader Module
■
Map Meter Module
■
Map Transporter Module
6. Click Recall Selected. A new window appears for each selected module. All CueConsole2
modules are supported.
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CHAPTER 3: WORKING OFFLINE WITH VIRTUALD-MITRI
34
CHAPTER 4: CUESTATION MIXER CONTROLS
Using CueStation’s mixer windows require a familiarity with a set of common interface control
elements. This chapter describes these control elements in the context of their use in the various CueStation mixer windows.
INPUTS WINDOW
CueStation input channel strips can include a broad array of controls. These controls vary with
the active CueStation configuration.
Inputs Window
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CHAPTER 4: CUESTATION MIXER CONTROLS
Input channel strips include the following controls.
Control
Function
Channel Select button
The Channel Selects button is labeled with its channel number (assigned when system was initially configured). It has a function for both automation and mixing. When
capturing cues, the selection of channels can be used to constrain the range of channels captured into subcues. More information on using Channel Selects can be found
in Chapter 8, “CueStation Automation.”
Fader Label text box
Faders can be automatically labeled when configuring the mixer, or manually labeled
by typing a new label in the box.
Auxiliary Send level
or pan box
This control appears only when the mixer is configured for auxiliary sends and Display
> Show Aux Sends is selected.
Pre-Fader Listen
Button
Pre-Fader Listen button is displayed if Control Points for PFL have been mapped.
+48v Phantom
power enable button
The phantom power setting can only be changed after clicking the Unlock +48v button on the far left.
Pad (-18db) button
Reduces signal levels by 18 dB.
Preamp button
Toggles the built-in preamplifier on or off.
Gain knob
This knob controls Analog gain.
Scale display
This display shows the signal scaling factor from the combination of Pad, Preamp,
and Gain values. This control is active only for analog input or output channels.
Trim knob
Drag Trim knobs or their associated value boxes to adjust the value. Values can also
be typed directly in the associated text box. The adjacent Unity button resets the control. These trims can be used to adjust the relative levels of the automated mix during
a performance without interfering with the overall contour of the automation.
Bus Assign channel
buttons
These buttons are arranged in paired (left/right) columns. To select a bus with a higher
number than what is listed, right-click the buttons and select an available bus from
the context menu.
Pan control knob
Drag the knob to adjust the value, type a value into the associated text box, or click
the text and drag up and down. The adjacent Center button resets the control.
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CUESTATION 5.5 USER GUIDE
Control
Function
Wait and Fade timing
boxes
The Fade time specifies how long it should take for the pan control to reach the
desired position. The Wait time specifies how much time passes before the fade
begins. A set of automation controls, supporting Mute, + (polarity), Flip (restores Level
control when swapped with Aux, Trim, etc.), Solo, EQ Bypass, and Isolate. A master
set of controls to the far left of the fader strips provides global control, toggling or
resetting all buttons simultaneously.
Fader level control
Fader for controlling channel level. See “Fader Level Control” on page 38 for more
information.
Scroll Bar
Drag to change the currently displayed channels. Addition and Subtraction buttons
adjust the number of simultaneously displayed channels. Arrow buttons bank the displayed channels left and right. Right-click the scroll bar to choose the first displayed
channel from the channel selection grid.
CueStation provides a set of keyboard modifiers to use when changing settings across a
selection of several inputs or outputs. Using these modifiers, channels can be controlled in
stereo pairs or as larger selections.
■
To apply changes to a stereo pair on an absolute basis, select one channel of the pair, and
hold the Shift key while making changes.
■
To apply changes on an absolute basis to all selected channels, hold Command (Mac) or
Ctrl (Windows) while making changes.
■
To apply changes to a stereo pair in a relative fashion, such that the channels adjust uniformly while maintaining their differences, hold Shift+Option (Mac) or Shift+Alt (Windows)
while making changes.
■
To apply changes to selected channels in a relative fashion, such that channels with different settings adjust uniformly while maintaining their differences, hold Command+Option
(Mac) or Ctrl+Alt (Windows) while making changes.
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CHAPTER 4: CUESTATION MIXER CONTROLS
FADER LEVEL CONTROL
The fader controls are similar across all mixer windows.
Fader Section (Mixer Windows)
The fader control section contains the following elements.
Element
Function
Mute button
Mutes the signal present on the channel.
Invert button
Inverts the polarity of the signal present on the channel.
Flip button
Enables the fader to switch between controlling Channel level, Aux level, and
Trim level. The destination and value of the fader control is indicated in the
Level field directly below the fader.
Solo
Solos the signal present on the channel. Right-click the Solo button and
choose Enable Solo-Safe to prevent a channel from muting when another
channel has Solo-in-place engaged.
EQ Bypass
Bypasses all EQ settings of the channel.
Isolate
Isolates the channel from automation.
Signal Meter
The signal meter shows the level of the signal. It appears to the immediate left
of the fader slider.
Fader Slider
Drag this slider up and down to adjust the level.
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CUESTATION 5.5 USER GUIDE
Element
Function
Channel Number
The channel number appears at the top-right of the control, corresponding to
the channel number at the top of the channel strip. Click the channel number
to disable the channel completely.
EQ shortcut button
Opens the EQ window. It is enabled only when the system is configured to
allow signal processing.
Unity (0 dB) shortcut button
Provides a shortcut to set the channel level to unity.
Listen button
A listen button is enabled only when a Listen output is configured. The listen
button can be mapped to a Listen output or to a set of Listen outputs using a
set of checkboxes that become available when Listen output is configured.
When a listen channel is enabled in the Master Output section, listen channel
number is indicated on the button of each channel. An asterisk indicates multiple overlapping assignments.
VGroup boxes
Enter a number or drag the box to assign a channel to a VGroup. When the
channel is assigned to a VGroup, its fader shows a green scaling bar along the
fader track, indicating the scaling factor being applied to the fader level. If the
scaled level is above 0 dB, it is shown with a yellow bar (orange when using
the Dark color scheme). When using two VGroups, the scaling factor is the
product of the VGroup levels (multiplicative, not additive).
Off (-inf dB) shortcut button
Provides a shortcut to set the channel level to -infinity.
Level Wait, Fade value
boxes
Meters and value can be dragged, and values can be typed directly.
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CHAPTER 4: CUESTATION MIXER CONTROLS
GLOBAL CONTROLS
Along the far left of the control panel, adjacent to and outside the channel strips, are some
controls and labels. These controls are listed in the following table from top to bottom, with
variations dependent on the mixer configuration.
Control
Function
Master Channel Select
button
This indicates whether any channel has been selected and toggles the Channel
Select for all faders simultaneously.
Auxiliary Select button
The Auxiliary Select button is labeled with the Auxiliary Number, and a text box for
the Auxiliary Label. These controls appear only when the mixer is configured for auxiliary sends and Display Show Aux Sends is selected. Double-click the label to flip
the Aux Fader and Channel Fader controls.
Unlock +48v button
Makes the +48v Phantom power enable button accessible on each channel.
Digital Trim button
When double clicked, Digital Trim flips the Trim and Level controls. The label text
changes to indicate which type of control the adjacent pan pot adjusts. To switch
back, click the F button.
Master set of automation controls
These controls include Mute, + (polarity), Flip (restores Level control when swapped
with Aux, Trim, etc.), Solo, EQ Enable, and Isolate. These buttons allow the settings
to be toggled globally for all inputs.
Two global Auxiliary
Select buttons
Each button is labeled with its Auxiliary Number.
HOLD button
When enabled, multiple PFL buttons can be activated simultaneously. When disabled, only one PFL can be activated at a time.
Checkboxes
These checkboxes, between the HOLD and CLEAR buttons, select which Listen
outputs have audio routed to them when the CLEAR button is selected on each
channel.
CLEAR button
The button turns off any Listen buttons.
Level (dB) button
After the Digital Trim button has been clicked up above, these buttons switch
places—Digital Trim becomes Level (dB), and vice-versa. Double-click to flip the
trim and level controls back to their original positions.
TIP: Right-click within the master set of buttons along the left side of the window
to disable the global control buttons in the mixer windows. Mute, + (polarity),
Solo, EQ Bypass, and Isolate buttons can be disabled for all channels.
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CUESTATION 5.5 USER GUIDE
Adjusting Settings across Multiple Channels
There are several ways to apply changes to more than one channel at a time, either by entering new settings with the keyboard alone, or by using the mouse in combination with keyboard modifier keys and key combinations.
Changing Channel Settings by Entering Field Data
When changing channel settings by typing data into channel strip fields, changes can be
applied to channels in stereo pairs, or to broader channel selections. Changes can be made
either on an absolute or a relative basis.
■
Hold Shift while changing a control point to make changes in stereo pairs.
■
Use Shift-Enter after typing in a new control point value (such as a Fade time) to make
changes in stereo pairs.
■
With multiple channels selected, hold Command (Mac) or Ctrl (Windows) while changing
control points to make proportionate changes to all selected channels.
■
Press Command+Enter (Mac) or Ctrl+Enter (Windows) after typing in a control point value
to change that value for all selected channels.
■
Press Command+middle-click (Mac) or Ctrl+middle-click (Windows) to change control
points for all selected channels in the window.
Changing Multiple Channel Settings by Mouse
CueStation also provides a set of keyboard modifiers when working with a mouse to change
settings across a selection of several inputs or outputs. Using these modifiers, channels can
be altered in stereo pairs or in larger groups.
■
Right-click-drag (Windows) or Ctrl-drag (Mac) to copy control values from one channel to
another. This technique can be used to copy the entirety of settings from one channel to
another, or just a particular section of the channel strip, such as the bus assigns or the
fader level.
■
To apply changes to a stereo pair on an absolute basis, hold Shift while making changes to
either channel of the pair.
■
To apply changes on an absolute basis to all selected channels, hold Command (Mac) or
Ctrl (Windows) while making changes.
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CHAPTER 4: CUESTATION MIXER CONTROLS
■
To apply changes to a stereo pair in a relative fashion, such that the channels adjust uniformly while maintaining their differences, hold Shift+Option (Mac) or Shift+Alt (Windows).
■
To apply changes to selected channels in a relative fashion, such that channels with different settings adjust uniformly while maintaining their differences, hold Command+Option
(Mac) or Ctrl+Alt (Windows).
Aux Flipping
The fader slider, because of its length and orientation, provides a finer level of mouse control
than the rotating control knobs. When many fine adjustments are made to a Trim or Aux Level
control, flip it to the fader slider.
To flip a control for a single channel:
1. Click the channel’s Flip button.
2. Click the Flip button again to restore normal fader control.
To flip a control for all channels in a window:
1. Click the global Flip button.
2. Click the global Flip button again to restore normal fader control.
To flip all faders to a row of Aux Levels, double click the appropriate Aux Level row label at the
left edge of the Aux Row. After editing Aux Levels, double click the Aux Sends label (at the left
hand edge of the window) to return to normal Trim/Level flipping.
The F9 and F10 keys flip through auxiliary channel rows, backward and forward, respectively.
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CUESTATION 5.5 USER GUIDE
BUS MASTERS
The Bus Master faders control the audio signal mixed from the input channels assigned to
each bus before it reaches the matrix.
Bus Masters Window
Bus channel strips feature the following controls.
Control
Function
Channel Select button
Channel Select is labeled with the associated bus number. Click to select a
channel.
Bus Label text box
This text box is used to change the name of the bus label. Any labeling
changes made here are also reflected in the Matrix window.
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CHAPTER 4: CUESTATION MIXER CONTROLS
Control
Function
Digital Trim knob
Adjusts the trim. The adjacent U button resets the knob to unity.
Set of automation controls
These controls are explained in “Inputs Window” on page 35.
Set of fader controls
These controls include a fader slider, Unity button, Virtual Group assigns, HOLD
and CLEAR buttons, and Level, Wait, and Fade value boxes.
OUTPUT MASTERS
The Output Master faders control the audio signal mixed from the matrix channels assigned to
each output.
Output Masters Window
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CUESTATION 5.5 USER GUIDE
The Output Masters controls contain the following.
Control
Function
Channel Select button
Channel Select is labeled with the associated output number. Click to select a
channel.
Output Label text box
This text box is used to change the name of the output label. Any labeling
changes made here are also reflected in the Matrix window.
Analog Scale setting
This adjusts the scale of the output signal.
Digital Trim knob
Adjusts the trim. The adjacent U button resets the knob to unity.
Set of automation controls
These are explained in “Inputs Window” on page 35.
Set of fader controls
These are described in “Fader Level Control” on page 38.
G. Master button
When enabled, the Output Master is controlled by the Grand Master. When disabled, the Output Master remains independent.
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CHAPTER 4: CUESTATION MIXER CONTROLS
AUX MASTERS
The Aux Masters window displays controls for auxiliary output channels:
Aux Masters Window
The auxiliary output channel controls contain the following.
Control
Function
Channel Select button
The button is labeled with the aux output number.
Aux Output Label text box
Shows the aux output location.
Analog Scale setting
Adjusts the scale of the output signal.
Digital Trim knob
Adjusts the trim. The adjacent U button resets the knob to unity.
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CUESTATION 5.5 USER GUIDE
Control
Function
Set of automation controls
These are explained in “Inputs Window” on page 35.
Set of fader controls
These are described in “Fader Level Control” on page 38.
G. Master button
When enabled, the Output Master is controlled by the Grand Master. When disabled, the Output Master remains independent.
LISTEN MASTERS
The Listen Masters window displays controls for Listen output channels.
Listen Masters Window
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CHAPTER 4: CUESTATION MIXER CONTROLS
The Listen Masters controls contain the following.
Control
Function
Channel Select button
The button is labeled with the aux output number.
Listen Name text box
Shows the Listen output location.
Analog Scale setting
This is to adjust the scale of the output signal.
Digital Trim knob
Adjusts the trim. The adjacent U button resets the knob to unity.
Set of automation controls
These are explained in “Inputs Window” on page 35.
Set of fader controls
These are described in “Fader Level Control” on page 38.
G. Master button
When enabled, the Output Master is controlled by the Grand Master. When disabled, the Output Master remains independent.
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CUESTATION 5.5 USER GUIDE
VIRTUAL GROUPS
The values of arbitrary groups of faders can be scaled by Virtual Group Faders, also known as
VGroups. A single Virtual Group Fader can be assigned to control many types of faders at the
same time. Any number of Input faders, Bus Master faders, Output Master faders, and Aux
Master faders can be assigned to the same Virtual Group fader. Each fader can be assigned to
two Virtual Groups, allowing even more control.
The Virtual Groups window provides controls for VGroups.
Virtual Groups Window
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CHAPTER 4: CUESTATION MIXER CONTROLS
The Virtual Groups window contains the following controls.
Control
Function
Channel Select button
The button is labeled with the VGroup number.
VGroup Label text box
Shows the associated virtual group.
Digital Trim knob
Adjusts the trim. The adjacent U button resets the knob to unity.
Set of automation controls
These are explained in “Inputs Window” on page 35.
Set of fader controls
Includes a fader slider, Unity button, and Level, Wait, and Fade controls.
GRAND MASTER
The Grand Master is the final set of gain stages within CueStation. It controls the level of all
outputs that have the GM (Grand Master) button engaged.
Grand Master Window
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CUESTATION 5.5 USER GUIDE
The Grand Master window contains the following controls.
Element
Description
Aux Mute button
When active, mutes all Aux sends.
Solo-In-Place button
Turns green whenever a solo is active. Click the button to clear the solo.
Master Stop button
Master Stop has the same function as the Master Stop button in the
Transport window: click the button to stop all automation, including Wild
Tracks, SpaceMap trajectories, fades, wait times, and autofollows.
Mute button
Mutes the audio on all main output channels.
Isolate button
Isolates isolates the Grand Master level, trim, and mute from automation.
Grand Master fader
Provides Unity and -inf shortcut buttons
Level, Wait, and Fade value boxes
These apply to the Grand Master fader.
Trim fader
Provides Unity and -inf shortcut buttons.
Level value box
For the Grand Master fader.
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CHAPTER 4: CUESTATION MIXER CONTROLS
52
CHAPTER 5: MATRIX WINDOW
The matrix in CueStation is an adaptation of a matrix found on traditional analog consoles. It
performs distribution of bus signals to output channels.
BUS AND OUTPUT CONTROLS
Bus and Output controls are displayed as a matrix, with level shown at each intersection.
Matrix Window
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CHAPTER 5: MATRIX WINDOW
Rows correspond to buses and columns to output channels. Along the left and top of the
matrix display are corresponding control strips of Channel Select buttons. These are labeled
with their Bus Number or Output Channel Number and names.
The rest of the matrix is devoted to cross-point value boxes, which correspond to the knobs
on a physical console matrix. These value boxes can be adjusted by typing in a value directly,
or by clicking box and dragging the value up or down. Levels are measured in dB (0 dB =
unity).
Display Menu
The following table describes the Matrix Window Display menu commands.
Command
Description
Show Waits
Displays the wait time at each crosspoint.
Show Fades
Displays the fade time at each crosspoint.
Show Levels
Default view. Displays the levels at each crosspoint.
Show Vgroups A
Shows crosspoint VGroup A assignments. Drag a crosspoint to assign a
VGroup.
Show Vgroups B
Shows crosspoint VGroup B assignments. Drag a crosspoint to assign a
VGroup.
Show All
Displays all levels, wait time, and fade time in each crosspoint.
Vertical Column Labels
Displays the destination labels in vertical text.
Adjust Markup
Displays the Markup Palette, menu, and selection field.
Show Page Group Controls
Displays Page Group controls at the bottom of the window. See “Page
Group Controls” on page 199.
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CUESTATION 5.5 USER GUIDE
Matrix Menu
The following table describes the Matrix Window Matrix menu commands.
Command
Description
Clear Output Matrix
Set all levels to -inf dB.
Clear Displayed Region
Set all levels on the currently displayed crosspoints to -inf dB. Levels
that are not visible in the current Matrix window remain unchanged.
Set Diagonal
The crosspoint of each bus and corresponding output is set to 0.0 dB,
creating a 1-to-1 relationship between buses and outputs.
Set Diagonal in Displayed Region
The crosspoint of each bus and corresponding output is set to 0.0 dB,
creating a 1-to-1 relationship between buses and outputs. Levels that
are not visible in the current Matrix window remain unchanged.
Set Diagonal, Buses, Outputs
Sets a diagonal as explained above, and sets all Bus Masters and Output Masters to 0.0 dB.
Matrix Crosspoint Color
Matrix crosspoint color changes to reflect which control point is currently shown.
Control Point
Color
Waits
Pink
Fades
Yellow
Levels
Purple
VGroups A
Orange
VGroups B
Cyan
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CHAPTER 5: MATRIX WINDOW
56
CHAPTER 6: SIGNAL PROCESSING CONTROLS
From top to bottom, Signal Processing windows consist of a channel select button, channel
name display, an equalizer graph, a row of equalizer band controls, and a collection of text
fields and processing controls.
Signal Processing Controls (Input Processing Window Shown)
Processing controls for adjusting signal equalization, delay, and dynamics are available in the
following windows:
■
Input Processing (shown below)
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CHAPTER 6: SIGNAL PROCESSING CONTROLS
■
Bus Processing
■
Output Processing
■
Aux Processing
■
Listen Processing
■
VRAS Processing
PROCESSING CHANNEL STRIPS
Channel strips in the signal processing windows contain the following components, from top
to bottom.
Component
Function
Channel Select button
Each button is labeled with the Channel Number. Selecting a channel in the
Processing window is equivalent to selecting the channel in its corresponding fader window.
Channel Label box
Faders can be automatically named when configuring the mixer. Click the
text box and enter a custom name.
Two signal meters
Meters display signal level to the left of the equalizer graph; one meter for
channel level and another that displays gain reduction as a result of dynamics processing.
Bypass All EQ Bands button
Disables EQ for the channel.
EQ band controls
Bypass button. When selected, the corresponding equalizer control point is
disabled.
Band Label text box.
EQ Type selector. Contains various equalization algorithms (Parametric, Low
Shelf, High Shelf, Notch, Low Pass, High Pass, and Band Pass).
Gain, Freq, and Q value boxes. Drag values up or down to change them. Values can also be entered manually. The Gain value is disabled for Notch, Low
Pass, High Pass, and Band Pass filter types.
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CUESTATION 5.5 USER GUIDE
Component
Function
Dynamics band controls for
Noise Gate, Compressor, Limiter, and Expander
A Bypass All Dynamics button, for disabling all of the band dynamics at
once.
Bypass buttons to bypass selected dynamics processing: Noise Gate, Compressor, Limiter, and Expander.
Threshold, Attack, Hold, Release, Range/Ratio, and Makeup Gain value
boxes. Adjust by dragging or by typing a value directly.
Delay controls
Bypass Delay button. Disables the delay on that channel.
A Delay value box. Enter 0 to disable delay for the channel, or a decimal
value to set delay in milliseconds.
TIP: To make changes in smaller increments, hold down the Option/Alt key when
dragging values. Page Up and Page Down keys can also be used to make incremental changes.
Display Menu
The following table describes the commands available in the Display menu of the Input Processing and Bus Processing windows.
Command
Description
Show EQ Graph
Display visual representation of frequency and gain.
Show EQ Phase
Display green phase line behind the EQ graph line.
Show EQ Band Settings
Display controls for all EQ processing.
Show Delay Settings
Display controls for delay processing.
Show Delay Distances
Display delay as distances, in both feet and meters. Changing the time field
affects the distance field, and vice versa.
Show Dynamics Settings
Display controls for dynamics processing.
Show Meters
Display signal and compression meters.
Show Peak Hold
Display Peak Hold mark.
Set Peak Hold Duration
Enter a time for the Peak Hold mark to remain visible.
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CHAPTER 6: SIGNAL PROCESSING CONTROLS
Command
Description
Show User CSV Traces
Display user-added graph data.
User CSV Trace Settings
Import a file to create an additional EQ trace.
Show Page Group Controls
Display Page Group controls at the bottom of the window. See “Page Group
Controls” on page 199.
KEYBOARD AND MOUSE COMMANDS
Processing controls can be navigated and edited in multiple ways.
■
Arrow and Tab keys navigate the various value boxes.
■
Hold down Shift when changing a value to adjust channels as stereo pairs.
■
Hold down Option (Mac) or Alt (Windows) when changing a value to make smaller
changes.
■
Right-click a control point value and drag from one channel to another to copy the setting.
■
Drag EQ points in the EQ graph to adjust Frequency (X axis) and Gain (Y axis). Hold Shift
while dragging to adjust channels in pairs.
■
Right-click and drag EQ points in the EQ graph to adjust Q (X axis) and Gain (Y axis). Hold
Shift while dragging to adjust channels in pairs.
TIP: To adjust an arbitrary number of channels at once, click the channel select
buttons for multiple channels and hold Command (Mac) or Ctrl (Windows) while
adjusting control points. To adjust values relatively, hold Command+Option (Mac) or
Ctrl+Alt (Windows).
USER TRACES
When configuring EQ settings, it can be helpful to view a reference trace in addition to the
actual processing trace. Traces can be added in the form of CSV files. There are several programs that can output EQ data as a CSV file, such as Matlab or SIM3.
To add a user CSV trace:
1. In the Input Processing window, choose Display > User CSV Trace Settings.
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CUESTATION 5.5 USER GUIDE
2. Click Choose Directory and navigate to the directory where the trace files are stored.
3. Click Choose File to choose a CSV file. The CSV data is now visible in the EQ graph. If not,
adjust the Gain Offset up or down until the trace is visible.
4. Click Color to select the display color of the trace.
To view multiple traces at once, click Add Another Trace and follow the same steps. A different
color can be assigned to each trace.
Channel-Specific Traces
Adding a user trace typically results in the same trace being visible on all channels. Different
traces can be assigned to different channels by using a specific file naming technique.
To assign traces to specific channels:
1. Rename the CSV files with the same prefix, and append each with an underscore followed
by the channel number. For example:
■
Trace_25.csv
■
Trace_26.csv
■
Trace_27.csv
2. In the User CSV Trace Settings window, click Choose Directory and navigate to the directory where the trace files are stored.
3. In the File text box, type Trace_%CHAN%.csv. CueStation automatically replaces the
%CHAN% text with the channel number. This means that Trace_25.csv appears only on
channel 25, Trace_26.csv appears only on channel 26, and so on.
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CHAPTER 6: SIGNAL PROCESSING CONTROLS
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CueStation provides several ways of monitoring the activity and health of D-Mitri systems,
including connection status indicators in the bottom corner of every window. There are also
several windows dedicated to providing feedback about the state of the system.
CUESTATION CONNECTION STATUS
When CueStation is connected to a server, the name of that server is displayed in the title bar
of every CueStation window, next to the window title. This makes it easy to tell whether the
CueStation client is connected or not. One basic method of monitoring network activity exists
in every CueStation window as a status bar.
Status Bar
The two arrows in the status bar are communication status arrows. The upward (upload) arrow
represents communication from CueStation to the server, and the downward (download)
arrow represents communication from the server to CueStation. The arrows are gray unless
there is active communication between the window and the server, in which case they turn
yellow or green.
An arrow's background color also carries meaning. A yellow background, for example, indicates that metering has fallen back to TCP as a result of UDP packet loss. In the case of a
window failing to receive a response from the server for four seconds, the background of the
downward arrow changes color, as shown below.
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In tandem, the color of an arrow and its background show which server background process
is not responding. MixerD is the D-Mitri process that manages mixing functions; CueD is the
D-Mitri process that manages cue functions.
Normal, Both Responding
MixerD Not Responding
CueD Not Responding
MixerD and CueD Not Responding
Status Arrows and Associated Connection Status
Click the communication status arrows to open the System Status window, where more complete system information is displayed. For more information, see “System Status Window” on
page 68.
Log Alert, Page Alert, and Status Alert
To the left of the connection status arrows, there are three icons: a System Status icon, a telephone, and a LOG icon.
The System Status icon shows a green OK symbol when CueStation is running normally. It
shows a red blinking background during a Critical level Alert condition, and a yellow background during an Warn level Alert condition. Click this icon to bring up the System Status window (see “System Status Window” on page 68). To change the threshold for system status
alerts, right-click this icon when the System Status window is up. Select the threshold from
the menu. For example, when selecting Alert on Critical Error Condition, the system status
icon only blinks when a Critical Error occurs.
Whenever a log entry of Warning level or higher is printed to the log, the LOG icon flashes the
corresponding color on all connected CueStation windows. Click the icon to open the Log
window and clear the flashing.
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CUESTATION 5.5 USER GUIDE
Similar to the system status threshold, the threshold of log alerts can be changed by rightclicking the LOG icon. For example, if Blink on Critical Error is selected, the LOG icon only
blinks when a Critical Error message appears in the log. See “Log Window” on page 66 for
more details about error messages.
Log Alert Threshold
The telephone icon allows quick access to the Chat window. When one user pages another,
the recipient’s CueStation windows flash cyan once, and the telephone icon continues to flash
until the Chat window is opened. Hovering the mouse over the telephone icon shows a tool tip
that displays the last several page instances with timestamps.
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LOG WINDOW
The CueStation log records all important system messages, both from CueStation and from
D-Mitri modules. It provides a useful tool for troubleshooting hardware issues, communication
problems, configuration errors, and cue automation issues. CueStation stores logs as files in
the D-Mitri_Logs directory, within the CueStation_Settings directory. CueStation creates a
new log for each session, and incorporates date and time stamps into the name of each log
file.
Log Window
Log Entries
Click a column heading to sort the log in ascending order by that heading; click the heading a
second time to sort it in descending order. Column sorting is indicated by a triangle icon,
when column width permits. Columns can be arranged by dragging them from one position to
another within the table.
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CUESTATION 5.5 USER GUIDE
The Log # and Time columns show the order in which the messages were received. The
Source column indicates which software or hardware component sent the message, while the
Level column shows the severity of the message and the Description contains the message.
Log entries can be annotated in the Comment column. The Source Serial # column shows the
serial number of the device CueStation read for each message. The Code column shows a
code number associated with each log, useful for debugging and troubleshooting.
Adding Log Entries
The Log window also has an Enter Log Comment text field which can be used to easily enter
comment lines into the log. The warning level of the comment entry can be set using the dropdown box to the right of the text box. Note that selecting an error level from the drop-down
box also filters the error display to show only errors of the type selected.
To add an entry, type the comment into the Enter Log Comment text field and press Enter.
Types of Log Entries
There are six levels of log messages that might appear in the log window.
Level
Message Description
Info
These messages contain information about normal system activity. This includes recalling a cue, or
the completion of certain processes such as track-from-top or saving a project to flash. These
messages have a white background.
Warn
The Warn level is for messages that are important to note, but do not necessarily indicate that an
error has occurred (i.e., a version mismatch between the client and the server). These messages
have a yellow background.
Error
This level indicates that an error has taken place. Error messages do not necessarily mean that the
system is in danger of failure. For example, an attempt to recall a nonexistent cue would be logged
as an error, but such an occurrence does not jeopardize the function of any D-Mitri module, or of a
D-Mitri system. Error messages have a pink background.
Critical
This level indicates a critical system failure. These messages have a red background.
Debug
Debug messages contain debugging information only, and do not usually appear in normal CueStation operation. These messages have a green background.
Trace
These messages are used to trace program execution, and do not usually appear in normal CueStation operation. These messages have a cyan background.
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Log Menu
The Log menu has several commands for managing the displayed messages.
Command
Description
Enable Word Wrap
Continues each entry on a new line if the contents exceed the column width.
Clear Log
Clear the log window of all log entries. This command clears the log for all CueStation
clients connected to the target D-Mitri system, as opposed to clearing just the local
Log window.
Save Log
Save the log to a text file.
Save Log As
Save the log to a text file, with a different file name.
Save All Processor
Logs
Save a single archive containing system log files for all D-Mitri processor modules.
SYSTEM STATUS WINDOW
The System Status window provides a remote view of the performance of D-Mitri modules
included in system configuration. Processor modules and Matrix modules are monitored in
real time.
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CUESTATION 5.5 USER GUIDE
TIP: Click the communication status arrows or System Status icon in any CueStation window to open the System Status window.
System Status Window
The window provides a live link state diagram, which displays which DCP modules are currently passing audio to which DCM modules. This diagram is particularly useful in operating
D-Mitri systems containing redundant modules, as it shows which redundant modules are
active.
NOTE: No system details are available when connected to VirtualD-Mitri. The
System Status window shows no entries.
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Under normal conditions, the entries display on a green background. The background color
changes according to a unit's status. When D-Mitri is operating within its nominal range, OK is
displayed for temperature, voltage, and fan speed. Error messages are displayed with detailed
information if these values are outside expected ranges.
The following table describes the categories of data that appear in the System Status window.
Category
Description
Status
Online or Offline.
Module Name
Displays predetermined name.
Module Type
Displays predetermined type.
Role
Displays the role of a processor module as primary or backup. The role of a module as
shown in the System Status window reflects its role as specified in the Mixer Configuration window, with a minor differences in how some backup modules are denoted. Modules are presented in the Role column of the System Status window as shown below,
with the corresponding name for each module as it is displayed in the Unit column of the
Mixer Configuration window.
Module
Functional Role
System Status Role Name
DCM
Primary
MTRX-1
Backup
MTRX-X
Primary
DCP-1, DCP-2, DCP-3, DCP-4
Backup
DCP-X
Wild Tracks
Primary
WTRX-1, WTRX-2, etc.
VRAS
Primary
VRAS-1, VRAS-2, etc.
DCP
Serial Number
Module serial number.
Version
Version and build information.
Temp
If the temperature is outside the maximum working limits by 5% or less, the background
is yellow with black text. If greater than 5% outside the working limits, the background is
red with white text.
Power
If the voltage is less than 5% of the working value, the background is yellow with black
text. If greater than 1% over the working value, the background is red with white text.
Uptime
How long the system has been active. Time is given in increments ranging from seconds
to days.
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CUESTATION 5.5 USER GUIDE
Category
Description
CPU
Percentage of CPU used.
RAM
Percentage of RAM used.
Fan Speed
Shows OK when fans are working properly. Displays an error in the event of a fan malfunction.
Synchronization
Shows the difference between each module's system clocks. There should never be
more than a few milliseconds in a properly functioning system. If the values go out of
range, an error is written to the log.
Audio Port Status
Shows which GNet audio connections (between a DCP and a DCM) are in use, down, or
missing. Indicates which module is currently serving as the PTP Best Master Clock.
FPGA Version
Displays the version of the FPGA firmware that a module is running. Note that I/O modules do not use FPGA firmware.
TIP: To download all Engine Logs to a client computer, right-click a table background in the System Status window and choose Download all Engine Logs.
Recommended Maximums
D-Mitri hardware may not function properly if any of the following temperature or voltage
thresholds are exceeded.
Threshold Type
Maximum Values
Temperature
Core1 through Core4: warn at 60ºC/140ºF, error at 72ºC/162ºF.
MCH: warn at 90ºC/136ºF, error at 100ºC/212ºF.
FCC: warn at 65ºC/150ºF, error at 75ºC/167ºF.
CB: warn at 55ºC/131ºF, error at 75ºC/167ºF.
Voltage
in0: expected is 1.8v, warn at ±5%, error at ±10%.
in1: expected is 1.1v, warn at ±22%, error at ±23%.
in2: expected is 3.3v, warn at ±5%, error at ±10%.
in3: expected is 5.0v, warn at ±5%, error at ±10%.
in4: expected is 12.0v, warn at ±5%, error at ±10%.
in5: expected is 1.1v, warn at ±5%, error at ±10%.
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CHANNEL METERS
The meters provide real-time metering of Input, Output, Bus, and Aux signals. Input is scaled
to trim levels. PAFL channel meters are displayed in the Aux Meters window.
The Input Meter itself, examples of which are shown in the image below, shows signals in the
range -90 dBFS to 0 dBFS.
Input Meters Window
The meter scroll bar functions the same as blue scroll bars in other windows: The horizontal
scroll bar has + and - buttons to add or remove channel strips from the window, as well as and
buttons to scroll through the strips when they don’t all fit in the window.
Other meter features:
■
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Peak hold indicator behavior can be adjusted. Choose Display > Set Peak Hold Duration to
change the peak hold time.
CUESTATION 5.5 USER GUIDE
■
Choose Display > Show Peak Hold Bar to display a bar that indicates the peak level for the
chosen duration.
■
Choose Display > Show Peak Hold Text to display the currently-held peak level of that
channel in text above the meter.
■
Choose Display > Show Reference Line to display a horizontal reference line at a set level.
The reference line defaults to -20 dB. Choose Display > Set Reference Level to set a custom reference value in decibels.
Tablet Controls
The Meter windows have additional channel editing controls, accessible through the Display
menu. These controls are particularly useful for tablet/touch screen displays, but can also be
used with a regular mouse.
When Display > Show Tablet Controls is enabled, the following five buttons are displayed
across the bottom of the window.
Control
Description
Show EQ
When the Show EQ function is active, touch or click a meter to open the corresponding channel
processing window. This allows quick access to EQ, dynamics, and delay controls.
Mute
When the Mute function is active, touch or click a meter to mute that channel.
Show Strip
When the Show Strip function is active, touch or click a meter to open the corresponding mixer
window, with the selected channel in the first column.
Isolate
When the Isolate function is active, touch or click a meter to isolate that channel.
Select
When the Select function is active, touch or click a meter to select that channel. Several channels can be selected at one time.
UDP Metering
CueStation's default metering setting is UDP multicast packets. UDP packets are multicast by
the D-Mitri, and all of the clients listen to receive the metering information. This allows the
meters to update faster and be more accurate. If network problems are encountered with
metering, switch back to TCP metering by disabling Network > Use UDP Metering.
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Display Menu
The Metering windows contain a Display Menu, which provides the following commands.
Command
Description
Show Meter Levels
Displays green meter bars.
Show Compression
Displays compression activity.
Show Names
Displays channel names.
Show Channel Selects
Shows the Channel Select buttons.
Show Horizontal Meters
Switches meters from vertical to horizontal array.
Show Grid Lines
Displays horizontal grid lines that correspond with the decibel level markings.
Show Reference Line
Displays a horizontal reference line at a set level. The reference line defaults to
-20 dB.
Set Reference Level
Sets a custom reference value in decibels.
Show Peak Hold Bar
Shows a peak hold bar for each channel.
Show Peak Hold Text
Displays current dB value of peak hold.
Set Peak Hold Duration
Opens a dialog box to set the amount of time peak hold bars remain visible.
Show Tablet Controls
Enables Tablet controls (see “Tablet Controls” on page 73).
Show Channel Test Controls Displays Channel Test controls above the meters (see “Testing with Internally
Generated Signals” on page 25).
Show Page Group Controls
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Displays group controls. See “Page Group Controls” on page 199.
CHAPTER 8: CUESTATION AUTOMATION
CueStation mixer automation governs the movement of mixer controls over time. It provides
transition automation, which allows for fades and other changes over time, as compared to
simple snapshot automation, which typically sets all controls instantaneously.
CueStation offers a graphical interface for various mixer control points. A control point is any
adjustable mixer control, such as a fader, pan knob, or EQ setting. The values for a set of control points are contained in a subcue and a set of subcues can be captured to create a cue.
These cues can be placed in a cue list. During a show, the cues in the cue list can be recalled
manually, automatically in sequence, at a certain time point, or via a controller external to the
system.
CONTROL HIERARCHY
The subcue, cue, and cue list structure provides a system for defining control automation. The
complete CueStation data hierarchy, from the bottom up, is as follows:
Control Points
A control point in CueStation is defined in a general sense as any parameter that can be
adjusted manually or by the automation system. As with physical consoles, a lot of the control
points are associated with faders, knobs, and switches. Some control points address signalprocessing parameters, such as equalization and delay, while other control points, like isolate,
affect the operation of the automation system itself.
For example, Input faders have three control points: Level, Wait, and Fade. Level sets the target fader value, and Fade sets how long the fader takes to move to the target value. Wait sets
the delay between recalling the cue and the start of the fader movement. This allows one to
program a cue that starts a three-second fade to unity one second after recall. All three control points are contained in each Input Level subcue.
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Subcues
A Subcue is a collection of control points. The automation structure in CueStation is based on
absolute destinations. Control points contained in subcues dictate the state the mixer once
the recall of that subcue is complete, regardless of what those control points were set to when
the subcue was recalled. For example, if a subcue is recalled with the information Input 10
Level: -20.0 dB Fade: 5 Wait: 0, the fader moves from its current position to -20 dB over five
seconds.
Control points can be set as relative values within the subcue structure definition. For example, a subcue can be defined that increases or decreases an input level. This is achieved by
entering the value using a prefix to indicate the relative increase or decrease. The prefix for
specifying a relative increase is ++, and the prefix for specifying a relative decrease is --.
Cues
A Cue in CueStation refers to a list of subcues that are recalled as a group. A cue could contain many different types of subcues, or only one subcue. If a subcue has a wait time associated with it, that information is also stored as part of the cue. The same Subcue can appear
multiple times in a Cue, and in multiple Cues.
Cue Lists
A Cue List is an indexed collection of cues that are intended to be recalled in a certain order.
Like a cue, a cue list does not have any control point data in itself. It merely contains references to the cues associated with it. A cue list can also have recall and timing information
associated with each cue (see “Building a Cue List” on page 98). The same Cue can appear
multiple times in a Cue List, and in multiple Cue Lists.
Project File
The Project File is the container which stores all automation data. A project file also contains
the configuration of the hardware, layout information, and connection settings. Any of the data
in a project file can be merged into another project; this provides a method for importing cues,
cue lists, or any other automation data. Project files can be saved to a client computer's hard
drive, or to the flash memory inside a D-Mitri. Projects saved to a hard drive have a dmitriProject extension.
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NOTE: D-Mitri's flash memory saves only one file across all the processor modules in the system. Choosing Projects > Save Project to Flash overwrites any
existing project file already saved in the flash memory of D-Mitri processor modules.
Cue-Based Automation
Control point settings are stored and organized through the automation editing windows.
These windows support the creation and management of subcues, cues, and cue lists. Subcues contain the control data for all mixer functions and external device commands.
CueStation stores discrete states, target values, and time intervals, and calculates the continuous transformations from cue to cue on the fly. Such efficiency is essential for large configurations. The flexibility of cue automation is also critical in live performance where timing and
order can not be accurately determined ahead of time.
AUTOMATION BASICS
This section summarizes the process of capturing cues into a cue list. Each of these steps is
explained in more detail in subsequent sections.
1. Set Control Points. The first steps in creating a cue are determining what the cue should
do and setting the control points on the mixer accordingly. Because of the way automation
works in CueStation, set the mixer to the state it should be in once the cue is complete.
For example, to program an input fader to fade from 0 to -20 dB over five seconds, set the
fader to -20 dB, then set the fade time to 5.
2. Select Channels. Once the mixer is set to the desired state, use Channel Select to filter
which parts of the mixer to capture into the cue. For instance, to achieve a fade out of
input channels 5 and 6 without changing the level of the other input channels, select only
channels 5 and 6. Channel Select is described in more detail in “Channel Select” on
page 78.
3. Open Capture Window. When the control points have been set and the appropriate channels have been selected, press the F4 key to open the Capture window. In the Capture
window, enter a name and comment for the cue. The cue capturing process is described
further in “Capturing Cues” on page 83.
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4. Select Subcue Types. The next step is determining which parts of the selected channels to
captured. In the middle of the Capture window there are several lists of subcue types;
place a check mark next to each subcue type to be captured, and leave the rest
unchecked. For example, to capture the input levels while leaving the input labels
unchanged, check the box next to Input Levels and uncheck the box next to Input Labels.
5. Capture Cue. Once all the relevant subcue types have been selected, click the button in
the lower right corner labeled Click to Capture New. A new cue is created with the chosen
name, referencing the subcues that were selected. The new cue is appended to the current Cue List, and also appears in the Cue Library. The new subcues appear in the Subcue
Library.
6. Build a Cue List. After cues have been created, they can be organized into a Cue List
within the Cue List window. To add more cues from the Cue Library window, right-click
them and drag them into the Cue List. Right-click and drag to change the order of existing
cues in the Cue List. Cues can be set to recall manually or by timecode from within the
Cue List window or by auto-following a previous cue by a certain length of time. See
“Building a Cue List” on page 98 for more information.
7. Edit Cues. There are several ways of editing cues after they have been captured. One way
is through the Capture window, in Capture Differences mode. Instead of creating a new
cue with the selected control points, it amends the changes to the most recently recalled
cue, or any other selected cue. Another way to change a cue is to edit the values of the
control points manually, by viewing the contents of the subcues. These methods are
described more fully in “Editing Cues” on page 108.
CHANNEL SELECT
Each of the mixer windows displays a group of channels or controls that are all of the same
type, whether they are input channels, output channels, Wild Tracks Decks, SpaceMap buses,
etc. All the information can be captured from all the channels at once in a single subcue. By
using Channel Select, only information from the channels that need to change is captured in a
particular cue.
The mechanics of Channel Select also apply to Wild Tracks Deck and SpaceMap trajectories.
For a cue that starts an audio file playing in one deck, capturing only that deck prevents the
cue from interrupting other decks.
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CUESTATION 5.5 USER GUIDE
Using Channel Select in Each Window
At the top of or beside all channel, bus, and virtual group controls, CueStation offers a button
labeled Select, adjoined by an arrow pointing across the channel strip columns to the right.
Click this Master Select button to select all channels in the window, highlighting the channels.
Master Select Button (Inputs Window Shown)
For greater convenience in selecting large numbers or non-contiguous ranges of channels,
right-click the Master Select button to open the Selects dialog, as shown below.
Selects Dialog (Input Selects Shown)
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Channels can be selected from this list without having to scroll through the window to choose
channel strips through mouse selection. Click a channel in the list to select it, or enter channel
numbers in the text field above the list. The text field recognizes both individual channels and
ranges of channels. Ranges of channels are specified by separating the first and last channels
of the range with a dash.To input multiple selections, separate them using commas. For
example, entering 1-7,12,24-29 selects channels 1 through 7, channel 12, and channels
24-29.
The Capture window has controls that further refine Channel Select. To show which channels
are being captured, click the Use Channel Selects button. Each type of channel has a checkbox that can be deselected to capture all channels instead of just the selected ones.
When a cue that uses Channel Select is captured, the new subcues that are created only contain information about those controls that were selected. Later, when that cue is recalled, only
those selected channels are affected. All other controls continue to do whatever they were
doing. If a channel is in mid-fade, it continues to fade; if at rest, it remains at rest.
Using Channel Select in the Capture Window
It is also possible to edit channel selects from within the Capture window. This is especially
useful when for selecting multiple channels from different areas (Wild Tracks, SpaceMaps,
Aux, etc.).
1. Right-click the Channel Selection area (see “Channel Selection” on page 85), To the right
of the Channel Select buttons, to open the pop-up editor.
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2. Select the channel type from the list to bring up the control dialog.
3. Select the channels to capture, then click the close box in the upper right corner to close
the dialog.
4. Repeat the process for every different channel type to capture. The channels are now
selected in the Capture window.
Channel Select Capture Logic
In most mixer windows, control points for all channels are captured if no channels are
selected. For example, capturing an Input Level subcue while no Input channels are selected
results in a captured subcue that includes the levels of all Input channels.
There are a few exceptions:
■
If the Wild Tracks Deck subcue type is selected, but no Wild Tracks Deck is selected, then
only Deck 1 on Unit 1 is captured into the cue.
■
If the SpaceMap Trajectory or Position subcue type is selected, but no SpaceMap bus is
selected, then the captured SpaceMap subcue contains no control points.
■
If the Cue List Player subcue type is selected, but no Cue List Player is selected, then the
captured Cue List Player subcue contains no control points.
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Follow Channel Selects
When Mixer > Follow Channel Selects is enabled, recalling a cue that contains Channel
Selects automatically selects the associated channels in the mixer windows.
NOTE: This function is enabled only on a per-client basis, and assists with troubleshooting programmed automation. It is recommended to leave this function
off, as it can sometimes cause a cue to capture a different set of items than intended.
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CAPTURING CUES
The Capture window is where the actual cue and subcue creation takes place. The Capture
window controls make it easy to limit the control points and channels to be captured, and to
create a new set of subcues corresponding to only those control points that have been
changed.
Capture Window
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Capture Window Controls
The Capture window has four tabs: Capture, Subcue Types, Control Point Sets, and Index
Sets. The latter three tabs allow customization of the set of control points captured for a subcue, or create new subcue types. These tabs are detailed in “Capture Window Tabs” on
page 89.
The Capture tab is the main working window for cue creation. There are five groups of controls:
■
A Cue Selection area, which identifies the source cue for Capture Differences or shows
(Create New Cue) for Capture New. It also shows the new cue’s name and description.
■
A Channel Selection area, for selecting which channels are captured.
■
Capture Differences controls, active in Capture Differences mode, specify how new control
points are integrated with the cue's current subcues.
■
A Subcue Types Selection area, identifying the set of mixer component controls to be captured.
■
A Capture Controls area, with options relating to the behavior of the Capture window and
how the cues are captured.
Cue Selection
The Cue Selection area provides a set of controls to create new cues, update existing cues, or
recall settings on which to base a new cue.
Capture Window, Cue Selection Area
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The Cue Selection area contains the following controls.
Control
Function
Cue drop-down box
Shows (Create New Cue) by default. By selecting an existing cue from the drop-down
box, the subcues can be updated or replaced.
Name text box
Shows the name of the selected cue. A name can be entered for the new cue, or
edited for the selected cue.
Recall button,
Triggers the cue, moving its control points to their previously-saved values.
Comment text box
A place to type any comments regarding the cue. Comments are saved with the cue
and are visible from the Cue Library, Cue List, and Transport.
Details button
Opens the Cue Library to show the current cue’s subcues.
Channel Selection
The Channel Selection area controls the selection of channels to be included in the cue.
Capture Window, Channel Selection Area
The Channel Selection area contains the following.
Control
Function
Use Channel Selects
Button specifies whether the captured subcues include values for all channels,
or only selected channels.
Channel Selection Range
Checkboxes appear to the right of Use Channel Selects. The channels selected
via Channel Select are shown, some of these sets can be turned off to further
refine the channels that are included in the subcues.
Capture Isolated Channels
Button specifies whether channels that are isolated are to be captured or not.
Share Existing Subcues
Share Existing Subcues is active by default. When inactive, new cues never use
the existing subcues. Instead, a new subcue is created for every checked subcue type.
Uncheck All Subcue Types
Unchecks all subcue types in the Subcue Types Selection area below.
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Capture Differences Controls
This section is only active for Capture Differences or Update Subcues, and controls how the
intersection between the new and old subcues is handled.
Capture Window, Capture Differences Section
The Capture Differences area contains the following.
Control
Function
Mode buttons
These buttons, Replace, Amend, and Existing, toggle between the three most frequently used update modes.
Capture-Operator
This box offers four options: New Control Points Only, Intersection, Union, and Old
Control Points Only.
Capture-Precedence
This box offers three options: New Values Preferred, Old Values Preferred, and New
Values Always.
Venn Diagram
Provides a graphical depiction of how the subcues are updated.
These controls are described in detail in “Capture Differences and Update Subcues” on
page 115.
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Subcue Types Selection
The Subcue Types Selection area controls the selection of subcue types to be included in the
cue.
Capture Window, Subcue Types Selection Area
This is divided into sections by category. Each section contains:
■
Category labels, such as Inputs or Trim. Clicking a label selects or deselects all the subcue
check boxes within that category.
■
A list of Subcue Types. Each selected subcue type is included in the cue.
The lists are grouped according to their subcue type category, as defined on the Subcue
Types tab.
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Capture Controls
At the bottom of the Capture window are additional options that modify the behavior of the
Capture operation.
Option
Function
AutoHide Window checkbox
If this checkbox is checked, then the Capture window closes automatically when the Capture button is clicked. The window can be restored
by pressing the F4 key, or by selecting Windows Capture.
Persistent Subcue Select checkbox
If this checkbox is checked, then the last subcue types captured are
automatically selected the next time the Capture window is opened.
Add New Cue to Cue List checkbox
and a Cue Lists selector
When the checkbox is enabled, the captured cue is added to the
selected cue list in addition to the cue library.
Capture Type menu
Capture New captures a new cue according to the set parameters (cue
name, channel automations, and subcue types).
Capture Differences causes new subcues of the same types included
in the selected cue to be created and referenced in the cue.
Update Subcues causes the information in existing subcues to be
changed, thus allowing global changes to be made.
The Capture Differences and Update Subcue functions are described in “Editing Cues” on
page 108.
NOTE: The Functions keys F1 through F4 open the Capture window. Each key
opens the window in a different mode:
■
F1 opens the Capture window in Update Subcues mode, and selects the last cue that was
recalled.
■
F2 opens in Capture Differences mode, with the last cue recalled selected.
■
F3 opens in Capture New mode, but does not add the new cue to the cue list.
■
F4 opens in Capture New mode, and adds the cue to the cue list.
When pressing the Fn key while viewing the Cue List or Cue Library window, Capture
opens to the currently-selected cue. Otherwise, it opens the most recently recalled cue.
Using F4 sets some of the capture controls automatically.
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CAPTURE WINDOW TABS
Capture Window Tabs
The Subcue Types Tab
The Subcue Types tab lists a number of basic subcue types and custom subcue types.
NOTE: Modifying the default subcue types is not recommended. It is safer to use
the Duplicate button and modify the duplicate copy instead.
Each of the standard subcue types captures a single control point set for all applicable channels: the Input Level subcue captures the Input Level control set, the Aux Sends subcue captures the Aux Sends control set, and so on.
Specialized subcue types can be created that capture any combination of control point settings on any number of channels. This is an advanced task, accomplished through the use of
control point sets and index sets.
This tab has four main components: a set of command buttons, a list of subcue types, a list of
control point sets, and a list of index sets.
Command Buttons
The command buttons create or delete subcue types.
Button
Function
New
Creates a new subcue type from scratch. The subcue type can be named, its category
specified, its control point sets selected, and its index sets defined.
Duplicate
Creates a new subcue type based on the selected subcue. The subcue type can be
named, its category, parameter, and index sets can be fine-tuned.
Delete
Deletes the selected subcue type. Any subcues that made use of this subcue type are
changed, which in turn affect all cues that use that subcue.
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Subcue Types List
Click a column label to sort the entries alphabetically by the contents of that column. Click it
again to sort them in reverse order. The format of the ID and Created dates are compatible
with alphabetical sorting.
Column Data
Description
ID
A system-assigned number that cannot be changed.
Name
The subcue type value. The name can be changed by selecting it and typing a new name;
subcues that used this subcue type also show the change.
Category
Sorts the names according to type. Right-click the entry to select from the available types, or
type a new name to create a new category.
Display Order
The number determines the order in which the subcue types appear in the Capture pane of
the Capture window.
Comment
This field can contain any text.
Created
Provides date of creation, and cannot be changed.
Modified
Provides modification date, and cannot be changed.
Enabled
Shows whether a subcue type has been enabled or disabled. Disabled subcue types do not
appear in the Capture pane of the Capture window. Right-click the entry to toggle between
enabled and disabled states.
Locked
Shows whether a subcue type is locked or unlocked.
Control Point Sets List
When a subcue type is selected, the control point sets associated with it are listed to its right.
Click the associated checkboxes to select control point sets to be included in the subcue. For
control point set definitions, see “The Control Point Sets Tab” on page 91.
Index Sets List
An index set is listed for each control point set that is selected. The column labels for this list
can be clicked to sort the list alphabetically.
Right-click an Index Set entry to choose between Manual and any applicable custom index
sets that have been defined.
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When a Manual index set is selected, a list of channels can be typed in the Channels entry.
Channels can be separated with a space or comma, ranges of channels can be selected by
using a dash between numbers (1–4,6,8). To select all channels, use an asterisk (*).
The Control Point Sets Tab
The Control Point Sets tab lists the standard preset control point sets and any custom control
point sets that have been designed.
The Control Point Set is used by Subcue Types to identify which CueStation mixer components are captured in a subcue. The standard control point sets cover every common combination of components. Input Levels, for instance, captures the channel invert, input level, and
input mute settings.
Specialized Control Point Sets can be created that capture any imaginable combination of
controls.
This tab has three main components: a set of command buttons, a list of Control Point sets,
and a list of mixer control points.
Command Buttons
The command buttons create or delete Control Point Sets or add to or remove Address Patterns from selected control points.
Command
Function
New
Creates a new control point set from scratch. The new control point set can be
renamed and its list of Address Patterns can be modified.
Duplicate
Creates a new control point set based on the selected subcue. The new control
point set can be renamed and its list of Address Patterns can be modified.
Delete
Deletes the selected control point set.
Add Pattern
Adds a new Address Pattern to the list. Right-click the entry to select from an
extensive list of common Address Patterns.
Delete Selected Patterns
Removes any selected Address Patterns from the list.
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Control Point Sets List
Click a column label to sort the entries by the contents of that column. Click it again to sort
them in reverse order.
Column Data
Description
ID
A system-assigned number that cannot be changed.
Name
The subcue type value. The name can be changed by selecting it and typing a new name.
Comment
This field can contain any text.
Created
Provides date of creation, and cannot be changed.
Modified
Provides modification date, and cannot be changed.
Enabled
Shows whether a shows whether a set has been enabled or disabled. Right-click the entry to
toggle between enabled and disabled states.
Locked
Shows whether a set is locked or unlocked.
Control Points List
When a control point set is selected, the Address Patterns associated with it are listed to the
right.
Right-click an Address Patterns entry to choose from an extensive list of commonly-used patterns.
The command buttons above this are previously described in Command Buttons.
Index Sets Tab
The Index Sets tab shows a list of common index sets and any custom index sets that have
been designed.
The Index Set is used by Subcue Types to identify which channels of a particular Control Point
Set to capture. Each of the standard Index Sets captures all channels for a particular mixer
component.
Specialized Index Sets can be created that limit the subcue capture to a specific set of channels for any of the CueStation mixer components.
This tab has two components: a set of command buttons and a list of Index Sets.
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Command Buttons
The command buttons create or delete Index Sets.
Command
Function
New
Creates a new index set from scratch. The index set can be named, and the mixer
component and channels it uses can be defined.
Duplicate
Creates a new index set based on the selected subcue. The index set can be renamed,
and its mixer component and channels can be fine-tuned.
Delete
Deletes the selected index set. Any subcues that made use of this index set are
changed, which in turn affects all cues that use that subcue.
Index Sets List
Click a column label to sort the entries alphabetically by the contents of that column. Click it
again to sort the entries in reverse alphabetical order. The format of the ID and Creation dates
are compatible with alphabetical sorting.
Column Data
Description
ID
A system-assigned number that cannot be changed.
Name
The index set name, which can be changed by selecting it and typing a new name. Subcues that used this Index Set show this change.
Index Type
Right-click the box to select the mixer component used by this Index Set.
Default Indices
Type a list of channels in the box to select the default subset of channels for this Index Set.
You can separate channels with a space or comma, or select a range of channels by using
a dash between numbers (1-4,6,7). To select all channels, use an asterisk (*).
Note that if there are any channels selected in the mixer window, those channels are used
instead of the ones specified here.
Allowed Indices
Constrains the indices to a particular range. For instance, to change the Index Set to
include only the first four Input channels, enter 1-4. Otherwise, use an asterisk (*). To select
no channels, type None.
Note that any indices that are not specified in the Allowed Indices column are not used,
even if those indices have been selected manually in the mixer window.
Comment
This field can contain any text.
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Column Data
Description
Created
Shows the time stamp of creation, and cannot be changed.
Modified
Shows a time stamp of modification, and cannot be changed.
Locked
Shows whether a set is locked or unlocked.
CUSTOM SUBCUE TYPES
This section is for advanced users who wish to create their own subcue types, for more customizable automation. Creating custom subcue types is not necessary for normal CueStation
operations. However, it can make some advanced cue capture functions more accessible.
Control Point Addresses
In CueStation every control point in the system is assigned a unique Control Point Address.
This address unambiguously identifies that control with an intuitive, human-readable string.
For example, the control point address of the first input channel’s mute control is Input 1
Mute. The fader level of the third output channel is Output 3 Level.
To find out what a given control’s address is, make sure Layout > Tooltips Enabled has been
selected. When Tooltips are enabled, hovering the cursor over a control displays that control’s
address.
A typical setup has thousands or even hundreds of thousands of valid control point
addresses. The Capture Window has been made to be extremely flexible, and can be used to
capture the current state of all controls in the system, or just a few, or any of a number of subsets of the controls.
When creating cues and subcues, the first problem that the Capture window must solve is
which control points to capture. The Capture Window determines which control points to capture (and where to save the data) using a hierarchical system consisting of Index Sets, Control
Point Sets, and Subcue Types.
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Index Sets
The simplest specifier is the Index Set. An index set is merely a convenient way to assign a
name and type to a group of channel numbers. An index set contains a set of numbers and an
Index Type tag that indicates what sort of system parameter is related to those numbers. The
index type value is chosen from a small, predefined set of possible values. These include
Inputs, Outputs, Auxes, VGroups, and a few other types.
All the index sets known to the system can be viewed by opening the Capture window and
choosing the Index Sets tab.
The default index sets are sufficient for many projects, but custom index sets can be created if
necessary. For example, an index set that refers to the first eight inputs in the system can be
created by adding an entry in the index sets table with the cells filled out as follows:
Name: First Eight Inputs
Index Type: Input
Default Indices: 1-8
Allowed Indices: 1-8
An index set that refers to just a few specific input indices can be created. For example, the
input channels of three vocalists can be created as follows:
Name: The Three Tenors
Index Type: Input
Default Indices: 23,47,59
Allowed Indices: 23,47,59
Index sets can also be created that include specific values in addition to value ranges:
Name: Fancy Index Set
Index Type: Input
Default Indices: 3-7,23,40,42-47,59-62
Allowed Indices: 3-7,23,40,42-47,59-62
Predefined entries in the index sets table don’t have any numeric values in their Allowed Indices field. Instead, they all have an asterisk. This asterisk indicates all valid channels of the
given type in the system, as specified in the Mixer Configuration window. For example, in a
64-input, 32-output system, the asterisk in the All Channels/Input index set would be interpreted to mean 1 through 64, whereas the asterisk in the All Channels/Output index set would
be interpreted to mean 1 through 32 (both inclusive).
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This special logic is very useful, because otherwise it would be necessary to re-define new
index sets every time the Mixer Configuration changed. This way, a single set of predefined
index sets is sufficient to handle most things.
Control Point Sets
A Control Point Set specifies one or more patterns of control point addresses.
As with Index Sets, the default project comes with a number of predefined, non-editable control point sets, but custom Control Point Sets can be created. The control point sets known to
the system can be viewed by opening the Capture window and choosing the Control Point
Sets tab.
Each control point set consists of one or more Control Point Address Patterns, which resemble the Control Point Addresses described in “Control Point Addresses” on page 94, except
that some parts of the addresses can be left unspecified. For example, switching to the Control Point Sets tab and selecting the Input EQs control point set will show the following Control
Point Address Patterns:
Input
Input
Input
Input
Input
*
*
*
*
*
EQ
EQ
EQ
EQ
EQ
*
*
*
*
*
Type
Level
Frequency
Q
BandBypass
These patterns refer to control point addresses relevant to the EQ portion of the Input Processing window, but the numeric portions of the addresses have been replaced by asterisks.
The asterisks indicate that it is up to the system to determine the variables based on the Subcue Type. When capturing a cue, the asterisks expand out to concrete numbers, as in this
example:
Input
Input
Input
Input
Input
96
1-8
1-8
1-8
1-8
1-8
EQ
EQ
EQ
EQ
EQ
1-4
1-4
1-4
1-4
1-4
Type
Level
Frequency
Q
BandBypass
CUESTATION 5.5 USER GUIDE
Subcue Types
Subcue Types are the top-level specifiers in the Capture window. Subcue Types correlate a
group of control point sets with the appropriate index sets in such a way that together there is
enough information to fully specify the set of control point addresses to capture into a subcue.
The default project comes with a number of predefined, read-only subcue types, but custom
subcue types can be created.
Subcue Types can be viewed by opening the Capture window, choosing the Subcue Types
tab, and selecting an entry. The area to the right of the list shows the contents of the selected
subcue type. The center list, labeled Control Point Sets, lists the control point sets that are
specified by the selected subcue type. The area on the right contains a list of index sets used
by the subcue type. The column headings for this list are at the bottom of the screen: Index
Type, Index Set, and Index Values. The Capture window automatically determines which types
of index set are relevant to the subcue type. Many subcue types only contain a single control
point set.
For example, the Matrix Levels subcue type specifies only the Matrix Levels control point set,
which contains only the following Address Patterns:
Output All Channels
Bus All Buses
The Capture window determines how to expand the asterisks in those patterns; one index set
with IndexType=Bus, and one index set with IndexType=Output.
These items appear in the right sub-pane, in the Index Type column. The first item describes
how to expand asterisks that represent buses, and the second describes how to expand
asterisks that represent Outputs. In the example, they are set to All Buses and All Channels,
respectively. The corresponding Index Values entries show the actual interpretation of these
values: that for buses, the asterisk represents channels 1-32, and for Outputs, the asterisk
represents channels 1-8.
This rather complex, detailed analysis of the address pattern is interpreted as Bus 1-32
Output 1-8 Level
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The subcue captures the complete state of the Matrix. If the subcue type were editable, it
could be modified to specify other index sets instead of All Buses and All Channels. To create
an editable subcue type, click Duplicate (near the upper left of the Subcue Types tab), then
right-click in the Index Set column of the window area on the right to choose a new index set
for buses and/or outputs. Note that there is also a Manual option, which can reference indices
directly instead of referencing a predefined index set.
Each subcue type has attributes called Category, Display Order, and Comment. These attributes can be viewed and/or edited via the table at the left-hand side of the Subcue Types tab.
Note that these attributes do not affect which control point addresses are captured: the only
thing they affect are how the subcue types appear on the Capture tab. In the Capture tab,
each subcue type’s name appears with a checkbox next to it. Subcue types are grouped separately by category—for example, in the default project all the Input subcue types get grouped
together in one area of the Capture tab, and the subcue types in the outputs category get their
own separate section. Custom categories can also be created. Display Order gives some
measure of control over the order in which subcue types are listed within their category in the
Capture tab. Subcue types with smaller Display Order values appear before subcue types with
larger Display Order values. The Comment field provides a place to enter a comment about
the subcue type. Comments do not appear on the Capture tab.
BUILDING A CUE LIST
The Cue List is a sequence of cues used to control the show. Each cue can automatically follow a previous cue, be recalled by a timecode value, or be recalled manually.
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The Cue List Window
Cue list management is handled through the Cue List window.
Cue List Window
The Cue List area of the window shows an ordered sequence of cues. These are the cues that
are recalled during show control. They are always sorted according to their Index sequence.
Cues can be dragged from the Cue Library to the Cue List and new Cue List entries can be
created. Right-click new entries to select a cue. Note that new cues cannot be created in the
Cue List window; new Cue List entries only references cues that already exist.
The columns of the Cue List pane control a range of cue automation details. When selecting a
cue in the cue list, the Subcue Library pane is displayed to the right. Selecting a subcue
causes the Control Point pane to be displayed beneath the other two panes.
Creating a New Cue List
When starting a new project, a Defaults cue list is created automatically, and all newly captured cues are added to this list. To create another cue list, click the Cue Lists button and
select New Cue List.
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Additional cue lists can be used to create speaker check cue lists, different versions of a show
cue list for different performers, or even cues for system testing and diagnostics.
The Cue Lists drop-down menu contains commands to select, rename, duplicate, delete, or
assign new IDs to Cue Lists.
Adding Cues to a Cue List
There are several different ways of adding cues to your cue list:
■
Choose Windows > Capture. To create a new cue, check the box next to the Add New Cue
To Cue List and then select a cue list. Once complete, the cue is created and added to the
cue list indicated in the Capture window.
■
Press F3 to capture a new cue. Once complete, the cue is created. By default, using F3
does not enable Add New Cue to Cue List. If Add New Cue to Cue List is enabled manually
when the Capture window is displayed, the cue is created and added to the cue list indicated in the Capture window.
■
Press F4 to capture a new cue. Once complete, the cue is created and added to the cue
list indicated in the Capture window.
■
Choose Windows > Cue List and Windows > Cue Library. Drag cues with right-click from
the Cue Library directly into the Cue List. A green line indicates the cue’s destination in the
list. Multiple cues can be added at the same time.
■
Choose Windows > Cue List, then choose Cue Entries > New Cue Entry to create an
empty cue entry. Right-click in the Cue ID column to select a cue to add.
Moving Cues Within a Cue List
Right-click the Cue Index number of a cue and drag it to a different position in the list. This
also works when multiple cues are selected.
Cue List Timing and Automation
CueStation's cue automation allows you to set up timed sequences of cues that recall automatically, using either autofollow or timecode. This kind of automation is particularly useful
when the timing of a sequence is known and unchanging (to match video playback, for
instance), and can greatly reduce the need for manual cue recalling.
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Timecode in Forward-Only Mode
There are two options for how cues are recalled by timecode. The TC-Fwd ONLY option
matches the original design of the software: only those Timecode cues after the current cueon-deck in the Transport window are recalled by timecode. The alternative option, labeled
simply Timecode, is to allow any Timecode cues in the cue list to be recalled by timecode,
regardless of whether they are listed before or after the current cue-on-deck.
AutoFollow
AutoFollow is controlled by two parameters: the identity of the cue to be recalled, and the time
delay before this recall happens. The automatically-recalled cue can be Next, which allows the
creation of linear sequences of cues, or it can point to any cue in the list, which allows a variety of looping and branching strategies.
To set up a sequence of cues recalled by AutoFollow:
1. Right-click in the AutoFollow column for the first cue in the sequence. This cue can still be
recalled manually.
2. Choose Next, or the index value for the cue that follows it.
3. Set a time in the Wait column. This is the time between the recall of the first cue and the
second.
4. Repeat for subsequent sequential cues.
NOTE: To recall a sequence of cues at the same time, set an AutoFollow of 0.0
seconds for each cue in the sequence.
AutoFollow delays are cumulative, because AutoFollow cues are organized in a sequential list.
The time between the recall of the first cue in a sequence and the last is the sum of all the AutoFollow delays. In a sequence of five linked AutoFollow cues with 1 second delays, the final
cue is recalled four seconds after the first cue.
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AutoFollow Techniques
AutoFollow can be used to loop a sequence of cues indefinitely by pointing the last cue in a
sequence back to the first cue (or back to itself in the minimal case). This can be useful for a
vamping sort of structure, where a sequence of events must repeat for an indeterminate
period. It is always possible to break out of such a loop by manually recalling a cue that is not
in the loop. More information about vamping in CueStation can be found in “Regions, Loops,
and Vamping” on page 180.
AutoFollow can also be useful if you prefer to build up automation sequences in functional
chunks by defining some cues as Console only, others as Matrix only, and so on. This is especially true for External Command subcues, like the recall of MIDI Machine Control Locate followed by a sequence of Play commands.
Timecode
To recall a cue by timecode:
1. Right-click in the Trigger column of a cue, and choose either Timecode or TC-Fwd ONLY.
2. Enter the timecode in the Time column for the cue.
Cues recalled by timecode can be arranged into very complex and precisely timed
sequences. Timecode has the advantage of much finer control over the timing of a sequence,
down to a single frame. It is possible to change the timing of one cue without affecting the
timing of all of the subsequent cues.
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TRANSPORT WINDOW
The Transport window provides an interface for recalling cues while running a show.
Transport Window
Transport Window Overview
The Transport window displays the Cue List Players, and provides controls for recalling cues
and navigating through the cue lists. The columns shown are exactly the same as those in the
Cue List window, including the cue index, ID, name, and other details. The active cue and
cue-on-deck for each cue list are shown at the top of each cue list player. At the top of the
window is a timecode display and a Master Stop button. At the bottom of each cue list player
are five control buttons, to stop, rewind, move to previous, move to next, and go.
The Stop button on each cue list player stops only automation and playback recalled by that
cue list player. The Master Stop button stops all automation and playback, regardless of origin.
TIP: The Master Stop can be invoked at any time with Shift+Command+Option+M (Mac) or Shift+Ctrl+Alt+M (Windows).
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Selecting a Cue List
Each cue list player has a cue list menu next to the transport controls. To create or edit cue
lists, use the Cue List window, as described in “Building a Cue List” on page 98.
Navigating the Cue List
At the top of the Cue List window, the name of the active cue is displayed, along with its cue
index number (reflecting its position in the cue list). Directly below it is the name of the cue-ondeck. The active cue is the cue that was most recently recalled by Go button, timecode, autofollow, or external control. The active cue is highlighted with a green background in the Transport window.
The cue-on-deck is the cue that is recalled when the Go button is clicked. At that point, the
cue-on-deck moves to the active cue position, and the next cue in the list becomes the cueon-deck. The cue-on-deck is highlighted with a yellow background.
The cue-on-deck can also be set by double-clicking a cue in the Transport window.
The yellow buttons at the bottom of the window change the cue-on-deck without recalling
cues. Click the rewind button to set the first cue in the cue list as the cue-on-deck. Click the
Previous button to step backward by one cue, click the Next buttons to step forward by one
cue.
Recalling Cues
To recall cues:
1. Open the Transport window.
2. Select a cue list from the Cue Lists menu. By default, the first entry in the list of cue lists is
the cue-on-deck.
3. Click Go to recall the cue-on-deck. It becomes the active cue, and the next cue in the list
becomes the new cue-on-deck.
If the cue has any wait or fade times associated with it, the Go button becomes a status bar,
with the percent complete matching the countdown (in seconds) on the Go button. The countdown time is based on subcue durations, wait times, and autofollow wait times. Wild Tracks
and SpaceMap Trajectory times are not included.
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Recall Filtering
Subcue recalls can be filtered by type in the Transport window. Filtering provides fields for
specifying subcue types to exclude from cue recalls. This provides the ability to mask the
recall of parts of a subcue, while allowing the other control points or channels to be recalled.
Subcue addresses can also be filtered.
Transport Window, Recall Filtering Section
Timecode and AutoFollow
Cues recalled by timecode are recalled automatically when the timecode marker is reached.
At the top of the window is a timecode display, which shows the current time and frame rate.
The Enable Time Code Triggers button toggles whether timecode is online or offline.
If the Enable Time Code Triggers button is green, and the box next to it checked, timecode is
enabled and D-Mitri receives timecode normally.
If the Enable Time Code Triggers button is gray, and the box next to it not checked, timecode
is disabled and D-Mitri ignores any timecode it receives.
The timecode display can be hidden by deselecting Show Time Code in the Display menu.
This does not affect the online/offline state.
TIP: Clear a Cue List player’s Enable Cue List Player checkbox to disable it. Disabled Cue Lists are indicated by a pink background and do not recall any cues.
Disabled Cue Lists ignore external triggers, timecode triggers, and autofollows.
Track-From-Top
CueStation has a Track-From-Top function similar to that used in many lighting consoles.
Track-From-Top is a powerful command that quickly skips to a different point in the cue list,
while setting all of the control points as though the preceding cues had all been recalled in
order.
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To use Track-From-Top:
1. In the Transport window, double click the cue to be recalled next. The cue is highlighted in
yellow and the name appears as the cue-on-deck.
2. Choose Mixer > Track from Top. Click Yes in the confirmation window. CueStation updates
all control points as if every previous cue had been recalled in order, with a few exceptions:
■
Wild Tracks Deck subcues are loaded, but not played.
■
External subcues are not be recalled unless specifically enabled (or keyed) for each subcue.
A status window shows the progress of the Track-From-Top operation, as well as the status of
each DCP. When the Track-From-Top is complete, the cue that was originally selected is still
the cue-on-deck, ready to be fired as needed.
Track-From-Top can be initiated from any window, but if the Cue List window is active, then
Track-From-Top tracks to the cue selected in the cue list. Otherwise, Track-From-Top uses the
cue-on-deck in the Transport window.
Track-From-Top: External Commands
For subcue types other than External Commands, the control point addresses act as a key so
that only the last one in a sequence is used. This makes Track-From-Top more efficient:
instead of recalling hundreds of input level control points at one time, only the most recent
level for each channel is recalled. Commands have three different Track-From-Top settings,
which are assigned default values automatically when they are created. Right-click inside the
TrackFromTop column in the subcue detail section to edit the Track-From-Top settings.
Yes
The Command is set to always be recalled during Track-From-Top.
No 
The Command is set to never be recalled during Track-From-Top.
Key [string] 
The Command is only recalled if it is the last external with the assigned key. For example, if
cues 1, 3, and 5 each have a Command that is assigned to Key: A, and cues 2 and 4 each
have a Command that is assigned to Key: B, only the Commands in cues 4 and 5 are recalled.
Right-click a key and choose Reset to reset the Track-From-Top setting back to the default.
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Commands saved in older projects are assigned default Track-From-Top values.
Keyboard Commands
The Transport window allows for some keyboard shortcuts to select and recall cues.
Command
Function
Home
Selects the first cue in the cue list (top of list).
End
Selects the last cue in the cue list.
Arrow keys
Select the previous or next cue in the cue list (step back and step forward).
Enter
Recalls the Cue-on-Deck (Go).
CUE LIST PLAYERS
Through the use of Cue List Players, the Transport window can have multiple active cue lists.
Each Cue List Player has its own set of transport controls, and can be used to create complex
sequences of automation running in parallel.
Configuring Cue List Players
The number of Cue List Players is configured in the Mixer Configuration window, just like Virtual Groups, Buses, and Bus Assigns.
1. At the bottom of the Mixer Configuration window, enter the number of Cue List Players to
use.
2. Choose Configuration > Send Configuration.
3. Open the Transport window, and use the vertical blue scroll bar to page between Cue List
Players.
Controlling Cue List Players
Cue List Players can be captured into cues. A Cue List Player type subcue contains the value
of the cue list ID, and the cue-on-deck index.
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To capture a Cue List Player subcue:
1. In the Cue List Player to be captured, select the appropriate cue list.
2. Optionally, select a cue in the cue list to be the target cue-on-deck.
3. Click Select on the left of the Cue List Player.
4. Open the Capture window using F4.
5. In the System Subcue Type Selection area, add a check in the box next to Cue List Player.
6. In the Name text box, type a name for the cue.
7. Click the Click to Capture New button in the lower right to capture the cue.
When the cue is recalled, the selected Cue List Player switches to the chosen cue list, with the
chosen cue as the cue-on-deck.
EDITING CUES
In the ever-changing environment of show control, it is frequently necessary to revise cue settings. In cutting-edge design, there are times when cues will need to be built manually.
There are several different methods for editing cues. Most changes can be performed without
needing to recall the cue, but sometimes it can be easier to set the mixer to the desired values
and re-capture the cue with new settings.
Capture Window: Capture Differences
The first method of editing cues uses the Capture window, and requires that changes be
made live to the mixer.
1. Open the Mixer window and recall the cue to be edited.
2. Select the correct channels and make the necessary adjustments to the control points.
3. Use the F2 key to open the Capture window in Capture Differences mode. Make sure that
the correct cue is listed in the top left drop-down box, otherwise the changes might be
applied to the wrong cue.
4. In the Capture-Operator and Capture-Precedence boxes, assisted by the Venn (overlapping circles) diagram, choose the combination that modifies the correct set of subcue control points.
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Amend Mode is the default, and is appropriate for most situations. These settings are
explained in detail in “Capture Differences and Update Subcues” on page 115.
5. Select the types of subcues that should be updated, or that should have subcue types
added. Subcue types that are already present in the cue are underlined.
6. Click the Click to Capture Differences button. The subcues in the cue are updated with the
new control point values.
Capture Window: Update Subcues
When updating a specific subcue using Update Subcues, all cues that reference that subcue
are updated to use the new settings.
TIP: Use caution, as this allows easy global changes. See “Working with Shared
Subcues” on page 112 for more information.
To update a subcue:
1. Recall a cue that contains the subcue to be updated, then adjust control points as needed.
2. Use the F1 key to open the Capture window in Update Subcues mode. Make sure the correct cue is listed in the top left drop-down box.
3. In the Capture-Operator and Capture-Precedence boxes, assisted by the Venn diagram
(overlapping circles), choose the combination that modifies the correct set of subcue control points. Amend Mode is selected by default. A detailed explanation of these settings is
provided in Appendix B, “Capture Window Advance Mode.”
4. Select the types of subcues to be updated.
5. Click the Click to Update Subcues button. All subcues are updated, but retain their original
name. All cues that use this set of subcues are updated use the new settings.
Editing Subcue Control Points
1. Using either of the Library windows, select the subcue that needs to be updated.
The control points associated with the subcue are shown in the lower pane. To use the cue
or subcue mixer control settings as a starting-point, double click the arrow to the right of
the ID number to instantly recall the cue or subcue.
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The mixer controls move to the settings specified by the subcue(s).
2. Set the mixer controls to the desired settings.
3. In the control point settings area of the window, click the Update All Rows or Update
Selected Rows button as appropriate. Update All Rows update all the control points in the
subcue; Update Selected Rows update only the rows that are currently selected.
Control point values in a subcue can also be edited by changing the values listed in the Value
column. See the following section for more information on editing control point values.
Using the Preview Subcue Feature to Edit Control Points
Preview Subcue button can be used to edit control points in a subcue.
1. Using either of the Library windows, select a subcue to edit.
2. Click the Preview Subcue button at the top of the subcue editor pane. A yellow-bordered
preview window appears, displaying the contents of the subcue as a mixer window.
3. Modify the enabled controls in the yellow-bordered preview window. This updates the subcue, without requiring changes to the actual audio mix.
4. Close the yellow-bordered preview window to finalize the changes.
Adding Control Points
Control points can be added or removed from a subcue. This is a particularly useful way of
creating subcues that contain combinations of control points that are not easily selected
through the Capture window.
1. Click Add Entry. A new, blank control point is added at the bottom of the list.
2. Type the exact name of the control point in the Control Points column. This name must
correspond to an existing name in the Control Point Sets tab of the Capture window. You
can add a channel range to the name. Channels are separated with a space or comma,
ranges of channels are indicated by using a dash between numbers. For example, 1–
4,6,8 indicates channels 1 through 4, plus channels 6 and 8.
3. Using either the CueStation graphical interface, or by typing values directly, set the value,
wait, and fade parameters for the control point.
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4. To have the changes immediately take effect, double click the arrow to the right of the ID
number.
Control points can be added using the Capture window by selecting additional channels in the
mixer windows and then selecting Amend Mode.
Removing Control Points
To remove control points, select the control point(s) and click Delete Selected.
Control points can also be removed from a subcue when using the Capture window. When a
Capture Differences is performed in Replace Mode, only those channels which are selected at
the time are included in the subcue. For example, if a subcue originally contains control point
values for inputs 1–4, and channels 3–6 are selected for Capture Differences, the resulting
subcue contains control point values for 3–6.
Copy-On-Write
A shared subcue is a subcue that is referenced by multiple cues. Updating a shared subcue in
the Subcue Library window is a global change; all cues that reference it are updated to use the
new control point values. However, when updating a shared subcue within the Cue Library or
Cue List, Copy-On-Write is implemented. The control points for the current cue are changed,
but all other cues retain the original control point values.
Copy-On-Write effects the following changes when a subcue is updated in the Cue Library:
■
A copy of the original subcue is created with a new ID number. All other cues are edited to
reference the new subcue ID number.
■
The original subcue (which is then no longer shared) is changed to reflect the new control
point values.
Note that if the project includes External Commands that recall subcues, the subcue ID numbers stored in an External Command subcue are changed as necessary when this process
occurs.
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Working with Shared Subcues
CueStation provides two commands in the Edit menu to assist in working with shared subcues.
Command
Function
Individualize Subcues
This command converts all subcues to unique copies, so that no subcue is referenced by more than one cue. After the operation, all subcue names include the
name of the cue that references it.
Share Subcues
This operation is the converse of Individualize Subcues. When initiated, any subcues that have the same set of control points and values are combined into one
subcue, and referencing cues are updated to reference one subcue.
Searching Cues and Subcues
Search for cues and subcues by using the Find command in the Edit menu of the Cue List,
Cue Library, and Subcue Library windows. A dialog box is displayed with the following controls:
■
A drop-down box to choose between Select Only (to clear any current selections first),
Select More (to add to the current selection), or Deselect (to deselect items matching the
search parameters).
■
A drop-down box to select the parameter type (name, ID, type, etc.).
■
A drop-down box to select between is or is not.
■
A drop-down box to select the type of matching: Equal To, Containing, Less Than, etc.
■
A text box to enter parameter terms, such as a subcue ID number or channel number.
■
A Do it button to perform the search.
Items selected by the search have their text rendered in bold, so the selection can be changed
without losing the search results. To reset the text to normal, close and reopen the window.
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Search and Replace
Control points in cues can be batch edited to save time. For example, with a sequence of
cues that include System Level subcues, follow these steps to change the level for the entire
sequence to –3 dB:
1. Choose Windows > Cue List, then select all of the cues in the sequence to be changed.
TIP: Instead of selecting cues manually, use the Find command to select a particular subset of cues to change.
2. Choose Edit > Batch Modify Control Point Entries to open the Batch Modify dialog box.
3. In the first drop-down box on the left, select Set.
4. In the next drop-down box, select match. In the subsequent text entry box, enter the control points that will be affected.
5. Enter System Level. In the last text entry box, enter the value the control points should be
set to.
6. Enter –3. At this point, the dialog box should read: Set any control points that match System Level to –3
7. Click Do It to make the changes.
Examining Cues and Subcues
One or more cues or subcues can be examined to show their contents. Examining cues and
subcues displays more specific information than shown in various columns of the Cue Library
and Subcue Library windows. The Examine command is also used to compare multiple Cues
and Subcues and identify their differences.
To examine a Cue or Subcue:
1. Choose Windows > Cue Library or Windows > Subcue Library.
2. Select a Cue or Subcue from the list.
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3. Choose Edit > Examine. The Subcue Text View window displays the contents and information pertaining to the Cue or Subcue.
Subcue Text View Window
To show differences with Examine:
1. Choose Windows > Cue Library or Windows > Subcue Library.
2. Select multiple Cues or Subcues from the list.
3. Choose Edit > Examine. The Subcue Text View window displays the contents and information pertaining to the Cue or Subcue.
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4. Choose Show Diffs. Text view expands to Diff view, displaying two items in separate
panes. Differences are highlighted, and the number of differences is shown at the bottom
of the window. The items selected in the Left and Right columns correspond to the two
panes.
Subcue Text Diff View Window
When Show Diffs is used with more than two items, choose the item to be shown in each pane
by selecting an item from the Left column and an item from the Right column. Each number
corresponds to the Cue or Subcue ID.
Additional Examine Commands
Additional commands are available from Diff view.
Command
Function
Show Matching Lines
Displays lines that are identical between the two compared items.
Display
Choose Expanded to parse all control point number ranges and display a verbose
listing of all control points. Choose Compact to reduce the control point display by
combining ranges.
CAPTURE DIFFERENCES AND UPDATE SUBCUES
CueStation has unique controls for Capture Differences and Update Subcues commands.
These controls will affect the capture process only if they are visible when the capture operation is executed.
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Replace, Amend, Existing
These buttons provide shortcuts to the most commonly used settings. When the Capture window is opened, Amend is selected by default.
Button
Function
Replace
Sets Capture-Operator to New Control Points Only, and sets Capture-Precedence to New
Values Preferred.
Amend
Sets Capture-Operator to Union, and sets Capture-Precedence to New Values Preferred.
Existing
Sets Capture-Operator to Old Points Only, and sets Capture-Precedence to New Values Preferred.
Operator and Precedence Options
These boxes specify how the newly-captured data should be combined with the data that is
already present inside subcues during Capture Differences and Update Subcues operations.
These controls are not relevant during Capture New operations and are therefore disabled
when Capture New (F3 or F4) is selected.
There are two sets of data, shown with a Venn diagram that visually demonstrates the result of
the operation:
■
NEW is the set specified by the Subcue Type definition, the currently-selected Channel
Selects, etc. It contains control point addresses values which are to be captured from the
current state of the system. The NEW set is represented in the Venn diagram by the green
circle on the left.
■
OLD is the set of control point addresses that are already present in the pre-existing subcue. The control points of the OLD set can overlap those of the NEW. For example, the
sets contain different control points if the Channel Selects differ between the sets.
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The Operator setting specifies which control point addresses should end up in the resulting
subcue. It has four possible states.
State
Description
New Control Points Only
Discards the OLD set of control point addresses and replaces them with the control point addresses from the NEW set. This is the logic used when Advanced
Mode is not active.
Intersection
Retains only those control point addresses that are present in both the OLD and
NEW sets. Control point addresses appearing in only one of the two sets will not
be present in the resulting subcue.
Union
Retains the control point addresses that exist in the OLD set and adds the control
point addresses from the NEW set.
Old Control Points Only
Replaces the existing OLD set of control point addresses with the corresponding
NEW set, discarding all NEW control point addresses that were not already present in OLD set.
The Precedence setting specifies what happens to control points that are present in both
NEW and OLD sets. The Precedence setting has the following states.
State
Description
New Values Preferred
Replaces the existing value with the corresponding NEW value. This is the most commonly used setting and is the logic used when Advanced Mode is not active.
Old Values Preferred
Retains the OLD set’s value, discarding the NEW value. This mode is useful for filling
in additional control point addresses in a subcue without changing any of the subcue’s existing values.
New Values
Always is especially interesting, because it affects not only how value-conflicts are
resolved, but also which control point addresses are captured. In this mode, every
specified control point address will be updated with a newly-captured value, including control point addresses that are only part of the OLD set!
Capture Differences Example
This is an example update-subcue scenario and the results from the operation with each possible combination of Operator and Precedence settings.
A pre-existing cue contains an Input Mute subcue, containing the following data:
Input 1–6 Mute = false
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To demonstrate the control point status visually, channels will by listed in order with T for True
and F for False. The following represents a subcue with input mutes 1–6 as false and does not
contain mutes 7–8.
OLD: [FFFFFF..]
Capture Differences is used while Channel Selects specify Input Mutes 3–8 only, and all the
system’s Input Mutes are active (muted) when capture takes place. The NEW set is:
Input 3–8 Mute = true
Or graphically:
NEW: [..TTTTTT]
Since there are four possible Operator states and three Precedence states, a total of twelve
operations are possible.
New Control Points Only
Operator set to New Control Points Only; Precedence set to New Values Preferred.
Set
Value
Interpretation
Old
[FFFFFF..]
Input 1–6 Mute = false
New
[..TTTTTT]
Input 3–8 Mute = true
Result
[..TTTTTT]
Input 3–8 Mute = true
Operator set to New Control Points Only; Precedence set to Old Values Preferred.
Set
Value
Interpretation
Old
[FFFFFF..]
Input 1–6 Mute = false
New
[..TTTTTT]
Input 3–8 Mute = true
Result
[..FFFFTT]
Input 3–8 Mute = false; Input 7–8 Mute = true
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Operator set to New Control Points Only; Precedence set to New Values Always.
Set
Value
Interpretation
Old
[FFFFF..]
Input 1–6 Mute = false
New
[..TTTTTT]
Input 3–8 Mute = true
Result
[..TTTTTT]
Input 3–8 Mute = true
Intersection
Operator set to Intersection; Precedence set to New Values Preferred.
Set
Value
Interpretation
Old
[FFFFF..]
Input 1–6 Mute = false
New
[..TTTTTT]
Input 3–8 Mute = true
Result
[..TTTT..]
Input 3–6 Mute = true
Operator set to Intersection; Precedence set to Old Values Preferred.
Set
Value
Interpretation
Old
[FFFFF..]
Input 1–6 Mute = false
New
[..TTTTTT]
Input 3–8 Mute = true
Result
[..TTTT..]
Input 3–6 Mute = false
Operator set to Intersection; Precedence set to New Values Always.
Set
Value
Interpretation
Old
[FFFFF..]
Input 1–6 Mute = false
New
[..TTTTTT]
Input 3–8 Mute = true
Result
[..TTTT..]
Input 3–6 Mute = true
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Union
Operator set to Union; Precedence set to New Values Preferred.
Set
Value
Interpretation
Old
[FFFFFF..]
Input 1–6 Mute = false
New
[..TTTTTT]
Input 3–8 Mute = true
Result
[..TTTT..]
Input 1–2 Mute = false; Input 3–6 Mute = true;
Input 7–8 Mute = false
Operator set to Union; Precedence set to Old Values Preferred.
Set
Value
Interpretation
Old
[FFFFFF..]
Input 1–6 Mute = false
New
[..TTTTTT]
Input 3–8 Mute = true
Result
[FFFFFFTT]
Input 1–6 Mute = false; Input 7–8 Mute = true
Operator set to Union; Precedence set to New Values Always.
Set
Value
Interpretation
Old
[FFFFF..]
Input 1–6 Mute = false
New
[..TTTTTT]
Input 3–8 Mute = true
Result
[TTTTTTTT]
Input 1–8 Mute = true
NOTE: In this mode, control point values can be changed for channels that are
not selected. For this example, we are assuming that all input channels are
muted on the mixer.
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Old Control Points Only
Operator set to Old Control Points Only; Precedence set to New Values Preferred.
Set
Value
Interpretation
Old
[FFFFFF..]
Input 1–6 Mute = false
New
[..TTTTTT]
Input 3–8 Mute = true
Result
[FFTTTT..]
Input 1–2 Mute = false; Input 3–6 Mute = true
Operator set to Old Control Points Only; Precedence set to Old Values Preferred.
Set
Value
Interpretation
Old
[FFFFFF..]
Input 1–6 Mute = false
New
[..TTTTTT]
Input 3–8 Mute = true
Result
[FFFFFF..]
Input 1–6 Mute = false
Operator set to Old Control Points Only; Precedence set to New Values Always.
Set
Value
Interpretation
Old
[FFFFFF..]
Input 1–6 Mute = false
New
[..TTTTTT]
Input 3–8 Mute = true
Result
[TTTTTT..]
Input 1–6 Mute = true
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CUE AND SUBCUE LIBRARIES
CueStation contains two windows to display libraries of all cues and subcues in a project.
Cue Library Window
The Cue Library provides access to the cues that have been captured or constructed for the
project. The Cue Library window has three areas: Cue Library, Subcue, and Control Point list.
Cue Library Window
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Selecting a cue shows the subcues it references, and selecting a subcue shows the control
points it uses.
NOTE: These controls are different for Wild Tracks subcues. For more information, see “Editing a Wild Tracks Subcue” on page 176.
Cue Library Area
The Cue Library area of the window, in the upper left corner, shows the set of all cues in the
project. These can be sorted by any of the column headings.
Column Data
Description
ID
A unique number assigned to the cue. Show control systems recalling a cue must
refer to it by its ID.
Name
The cue name. If the cue is renamed, that change is reflected in the Cue List.
Overlap
Indicates whether pending cue actions such as delayed subcues are completed (Yes)
or canceled (No) when the cue is recalled. Yes is the default setting.
Refs
Shows how many times the cue is referenced by a cue list. Right-click in the Refs
column to see which cue lists reference the cue.
Comment
Provides a place to type a comment.
Created
A value indicating the date and time the cue was created.
Modified
Shows the time and date that the subcue was last edited.
Enabled
Shows whether a cue is enabled or disabled. Right-click to toggle between states.
Locked
Shows whether a cue is unlocked (editable) or locked. Right-click to toggle between
states.
Wild Tracks
Channel Assignments
Shows which channels are used by Wild Tracks in that cue, indicated by a green
background. Right-click and drag the numbers to change the channel assignments.
Subcue and Control Point List Areas
When selecting a cue in the Cue Library window, the subcues are listed on the right, and the
control points are listed in the lower pane of the window. For the most part, the subcue and
control point areas of this window function like those of the “Editing Cues” on page 108, with
the following exceptions:
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■
The Update All button does not change the subcue globally. If the subcue is referenced by
other cues, Copy-On-Write is used instead. More information about this process can be
found in “Editing Cues” on page 108.
■
Update Selected works similarly to Update All, but only for the selected control points.
Building Cues
To build cues:
1. In the Cue Library window, choose Cues > New Cue. A new blank cue is shown in the
appropriate list. The cue is created with the name Cue X. However, a new name can be
typed immediately after the cue is created, without having to highlight it.
2. Choose Subcues > New Subcue Entry.
3. Right-click in the ID column of the subcue entry and select a subcue from the list.
NOTE: Subcues can be added to a cue by right-clicking and dragging them from
the Subcue Library into the Cue Library and dropping them in the Subcue List
area. A cue can also be created by selecting several subcues in the Subcue Library and
dropping them directly into the Cue List area.
Cues Menu
The Cues menu contains commands specific to the Cue Library window.
Command
Function
Recall Cue
Recalls the selected cue.
Instant Recall Subcue
Recalls the selected cue, but ignores all wait and fade times.
New Cue
Create a new cue.
Duplicate Cue
Duplicates the selected cue (or cues).
Delete Cue
Deletes the selected cue (or cues).
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Subcue Entries Menu
The Subcue Entries menu contains commands specific to subcues shown in the Cue Library
window.
Command
Function
Recall Subcue Entry
Recalls the selected subcue entry.
Instant Recall Subcue Entry
Recalls the selected subcue entry, but ignores all wait and fade times.
New Subcue Entry
Create a new subcue entry.
Duplicate Subcue Entry
Duplicates the selected subcue entry (or entries).
Delete Subcue Entry
Deletes the selected subcue entry (or entries).
Capture Differences
Create a duplicate of the selected subcue, except with the current mixer values.
Update Subcues
Capture the current mixer state into the selected subcue. All other cues that
reference the subcue are updated to include the updated values.
Subcue Library Window
The Subcue Library window provides access to all the subcues that have been captured or
built manually for the project, and allows the creation of new subcues.
Subcue Library Window
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Selecting a subcue shows the control point values associated with it. Control points can be
added, removed, or changed as needed.
NOTE: These controls are different for Wild Tracks subcues. For more information, see “Editing a Wild Tracks Subcue” on page 176.
There are two major components in the Subcue Library window: the Subcue List, to the left,
and the Subcue Parameters List to the right.
Subcue List Area
This area has two control areas: a subcue type selection box on top, and a subcue list
beneath.
Subcue Type Selection Box
The Show selection box allows you to limit the types of subcues listed. You can choose All
Subcue Types, which lists all known subcues, or a specific type of subcue can be chosen.
The subcue types are maintained using the Subcue Types tab of the Capture window.
NOTE: If a specific type of subcue is selected, Subcues > New Subcue creates a
new subcue of that same type. For example, if Mixer Settings are selected as the
filter, Subcues > New Subcue creates a new Mixer Settings subcue.
Subcue List
The subcues can be sorted by any of the column headings.
Column Data
Description
ID
A system-assigned number. It is user-modifiable.
Name
The subcue name. When subcues are created by capturing, they are given the same name as
that of the cue, with the subcue type appended to the name. When a subcue is renamed, any
cues that reference it are updated to use the new name.
Type
Identifies the subcue type. New subcue types can be created using the Capture window.
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Column Data
Description
Refs
Shows how many times the subcue is used (referenced) by a cue, or by another subcue.
Right-click in the Refs column to display a list of all of the cues (or other subcues) which reference it.
Comment
Provides a place to type a comment.
Created
A timestamp showing the date and time the cue was created.
Modified
A timestamp showing the last time the cue was edited.
Enabled
Shows whether the subcue is enabled or not. Disabled subcues are highlighted in pink, and
are not recalled, even where they belong to cues that are recalled.
Locked
Shows whether or not the subcue is locked. Locked subcues are highlighted in gray.
som
TIP: If a subcue is disabled globally within the Subcue Library, it also appears as
disabled within any of the cues that reference it (i.e. in the Cue Library and Cue
List windows).
Subcue Parameters List Area
The Subcue Parameters List area displays control points associated with any selected subcue. This area has two collections of controls: Command Buttons on top, and Control Point
List underneath.
TIP: Subcue command types are annotated with help text, which is visible at the
bottom of the Command editing area of the Subcue Library window.
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Command Buttons
The command buttons create, remove, update, and analyze the control points.
Command
Function
Add Entry
Adds a new, blank control point to the list. When the control point is named,
that name must correspond exactly to an existing name in the Control Point
Sets tab of the Capture window.
Resolve Duplicates
Enabled when one of a set of duplicated control points is selected. All duplicates of the selected control point are deleted, and if there are other sets of
duplicate entries, only the most recently created one is saved.
Delete Selected
Deletes a control point from the list.
Update All Rows
Sets all of the subcue’s control points to the values of the graphical mixer
controls.
Update Selected Rows
Sets only the selected control points to the values of the graphical mixer controls.
Preview Subcue
Opens a window of the selected subcue type and allows the subcue to be
viewed without recalling the settings on the hardware. The window has a yellow background. Its active controls match those that are part of the subcue,
and can be used to adjust the subcue.
Display
Determines how much detail is displayed in the Control Point List. There are
three options:
■
Compact: This makes the list as short as possible by combining control
points with the same type and values into one entry.
■
Semicompact: This combines some control points of the same type and
values into one entry.
■
Expanded: This displays every control point on a separate line.
Channel Selects
Shows which channels were selected on the latest capture.
Adjust Selected Indices box
Shows a list of all subcue types used in that subcue, and it allows changes to
the index for all types at the same time instead of having to edit each one by
hand.
To adjust an index:
1. Select the control points to be edited.
2. Choose the control point type from the Adjust Selected Indices box.
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3. For the Adjust by value, type in the difference between the current value and the desired
value. For example, if the value is 4, type 2 to change the value to 6. To reduce that 6 value
back to 3, type –3.
4. Click the Adjust Selected Indices button to make the changes.
NOTE: In subcues with over 10,000 control points (such as a bus assign subcue
affecting all input channels), the Expanded view still shows a semi-compact
view, to improve performance. To override this setting, re-select the Expanded option
to view all control points individually.
Control Point List
With the exception of the Control Points column, click a column label to sort the entries alphabetically by descending order. Click the column again to sort them in reverse order. Click Control Points to toggle between different sorting methods. The first method is the traditional way
of sorting by type and then by channel; all the entries of one type display first, then all the
entries of the next type, and so on. The second method sorts strictly alphabetically by channel, so types alternate in the display instead of being grouped together.
Column Data
Description
Control Points
Identifies a specific set of control points by name. These names correspond to those available in the Control Point Sets tab of the Capture window. A new name can be entered, but it
is invalid if it does not exactly correspond to an existing name. Use the Capture window to
create new control point sets.
Value
Sets the destination value for the control point. The values can be decibels, text labels, true/
false, and so on.
Wait
Sets the delay between recalling the subcue and the actual start of movement for the control
point. This value is measured in seconds.
Fade
Sets the length of time it takes the control point to reach its destination value. This value is
measured in seconds.
Enabled
Shows whether the control point is enabled or not. Disabled control points are also highlighted in pink, and is not recalled as part of the subcue recall.
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CAUTION: Duplicate control points are highlighted in red. These conflicting control point value assignments must be resolved: two identical control points cannot be played at the same time within a subcue. The only way to resolve such a conflict
is to remove one of the control points.
!
Creating New Subcues
1. Choose Windows > Subcue Library to open the Subcue Library window.
2. Choose Subcues > New Subcue [subcue type]. Choose a subcue type appropriate for the
type of control points that are to be used. A name is automatically created for the subcue
depending on the type. (For some types, control points are automatically included as well.)
3. Add and update control points as needed.
Subcues Menu
The Subcues menu contains commands specific to the Subcue Library window.
Command
Function
Recall Subcue
Recalls the selected subcue.
Instant Recall Subcue
Recalls the selected subcue, but ignores all wait and fade times.
New Subcue > [subcue type]
Select a subcue type from the list to create a new subcue of that type.
Duplicate Subcue
Duplicates the selected subcue (or subcues).
Delete Subcue
Deletes the selected subcue (or subcues).
COMMAND SUBCUES
Command subcues can be used to control external devices-like hard disk playback units and
samplers connected to D-Mitri hardware. More often, however, command subcues are used
to control various aspects of D-Mitri hardware.
Command Subcues are created from within the Subcue Library window. This differs from the
method of creating mixer subcues, where the mixer is first adjusted and then captured. Available commands range from simple MIDI commands to elaborate CueConsole configuration
settings.
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Creating a Command Subcue
1. Open the Subcue Library window.
2. Choose Subcues > New Subcue > Commands.
A new subcue appears in the subcue list in the Subcue Library window.
3. In the area to the right, click Add Entry.
4. Right-click the Type and Command entries to select from a list of available options.
Type specifies the category of command, and Command selects the specific command.
5. Select External Control as the command type.
6. Type a Wait time as desired.
For most commands, parameters can be manually configured. These fields vary depending on
the command that is specified. Beneath the parameter configuration area is the byte
sequence that is transmitted, shown by a string of hexadecimal pairs.
TIP: String entry boxes in Command subcues support aliases in their values.
Aliases are specified with a dollar sign, followed by the alias label. CueStation
expands these aliases when recalling the commands that contain them. Alias contents
are specified in the Alias tab in the CueStation Mixer Configuration window (see
“Aliases Tab” on page 20 for more information).
Command Example
For this example, a Multi-Media Control (MMC) compatible video machine is connected to the
system by an RS-232 cable. It is to be controlled through the Transport window as part of an
overall audio-visual show. Specifically, to start the video at one point in the show and stop it at
another point.
To create a pair of subcues for these commands:
1. Create a new Command subcue and click Add Entry.
2. Right-click in the Type column, and select MMC.
3. Right-click in the Command column, and select Play.
4. In the left pane, name the subcue Play Video.
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5. Repeat the above steps, but choose Stop as the command, and name the subcue Stop
Video.
Either subcue can now be added to a cue. When the cue is recalled (via the Transport, timecode, CueConsole, or other means), the MMC-aware video machine starts and stops the
video. If there is an option to rewind the video to the start location, a rewind subcue can also
be created to use at the start of the show during initialization.
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SpaceMap multichannel surround panning enables the placement and movement of sound
through space using a graphical interface. This chapter contains definitions of the elements
that make up SpaceMap, instructions for integrating SpaceMap automation, and design
guidelines on how to set up SpaceMap for various applications.
Traditional pan controls for stereo sound are one-dimensional. They shift sound along a line
between two points: left and right. A SpaceMap, on the other hand, uses a two-dimensional
layout (shown below), and can even be used for three-dimensional work. It can position sound
anywhere on a plane, or anywhere in space.
SpaceMap Window
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ELEMENTS OF SPACEMAP
A SpaceMap design is constructed from two basic elements: nodes and Trisets. Nodes commonly represent the positions of loudspeakers or groups of loudspeakers, and can be of several types. Trisets link three nodes together, providing the means to distribute signal
proportionally among them. A Trajectory is the path along which the spatial pan control travels.
Nodes
Nodes are the points that audio is panned to within a map. They can represent physical loudspeakers (Speaker nodes) or simulate an output location (Virtual nodes). Nodes can also
derive their audio from other nodes (Derived nodes), or discard their audio completely (Silent
nodes). These types are defined in “Types of Nodes” on page 135.
Trisets
Trisets are triangular panning surfaces defined by three nodes. They ensure a smooth pan
without signal drop, like a two-dimensional panning law used by a conventional pan pot. Just
as two points are the minimum required to define a line, three points are the minimum required
to define a plane.
CAUTION: Trisets cannot overlap one another: signal distribution would be
unpredictable within the overlapped areas. An overlapping Triset turns red as a
warning.
!
NOTE: In circumstances where a single loudspeaker is included in a SpaceMap
Triset twice—once as a Triset node, and again as a Derived Node linked to one of
the Triset nodes—CueStation now interprets the two inclusions to make the output
level a sum of the two roles’ output levels.
The size of the Triset is not critical because the power-preserving panning law is proportional
rather than absolute. It is based on the relative distance between the spatial pan control and
each of the three surrounding nodes, rather than the actual physical distance within the grid.
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Trajectories
The path along which a sound moves is called a Trajectory. A trajectory can be recorded,
edited, and reshaped, then mapped to an input bus and recalled as part of a SpaceMap Trajectory subcue.
Trajectories can create the illusion of a moving sound, fade sounds in and out, or control a
variety of other effects depending on the design of the map. The relative position of the
SpaceMap bus within a Triset determines the proportion of signal sent to each of the nodes in
the Triset. The actual signal levels can be seen in the Matrix window, along the row of the input
bus assigned to the control.
Each trajectory is an entirely independent entity, with no absolute relationship to any one map.
One map can have several different trajectories, or one trajectory for several different maps.
Several trajectories can be active at once (one per bus), and there can be an arbitrary number
of trajectories (and maps) in a project file.
Additionally, a trajectory can be played back with real-time modifications, such as the number
of repetitions, rate, orientation, scaling, and offset in both X and Y dimensions. Several copies
of the same trajectory could be assigned to different buses and performed simultaneously
with different modifiers on each.
TYPES OF NODES
There are several types of SpaceMap nodes, each serving a different function.
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Trajectory Nodes
Trajectories are comprised of Trajectory nodes. Where Trisets represent loudspeaker locations
and establish points from which to derive relative panning, Trajectory nodes represent the current position of a signal in each plane.
Trajectory Nodes
Each TrajectoryNode contains information on both temporal and positional axes, and can
have a level setting independent of the Trajectory’s level. In addition, nodes can be named and
can recall text commands.
Speaker Nodes
Speaker nodes represent the physical outputs in the D-Mitri system.
Triset Containing Speaker Nodes
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Each speaker node is assigned to a single output. Outputs can be connected to loudspeakers, effects processors, or any other devices. Multiple nodes can be assigned to the same
output. When a Triset contains three Speaker nodes, the audio is distributed amongst the
nodes as determined by the location of the bus or trajectory within the Triset, and the relative
distance between the nodes. For more information on how to create these nodes, see “Adding Nodes” on page 146 and “Creating Trisets” on page 147.
Virtual Nodes
A Virtual Node simulates a physical output in space by distributing its signal to the Speaker
nodes to which it is linked.
Virtual Node Simulating the Center of a Quadraphonic SpaceMap
By default the signal is divided equally among all the linked Speaker nodes, but proportional
Link Gains can be defined that change the balance of the distribution. For more information on
how to create these nodes, see “Adding Nodes” on page 146.
In this example, the Virtual Node is linked to the four Speaker nodes so that any signal that is
assigned to it is equally distributed among the surrounding loudspeakers. Thus a trajectory
traveling around the perimeter of the map pans linearly from one loudspeaker to the next, but
a trajectory that moves toward the Virtual Node at the center of the map causes the signal to
spread out to all four loudspeakers gradually. This proportional distribution method creates a
convincing phantom image throughout the panning area.
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Silent Nodes
A Silent Node takes part in a Triset in place of a Speaker Node but it is not associated with an
output.
Silent Nodes Providing Fade Thresholds to a Quadraphonic SpaceMap
A signal panned toward a Silent Node simply disappears, providing an easy way to create
fade-in and fade-out effects. This feature also solves the signal dropout problem that exists
when a trajectory strays outside the panning area defined by a Triset of Speaker nodes. Since
the area outside the map is currently undefined, the signal abruptly drops out. By surrounding
the existing map with Silent nodes, we can create a perimeter of fadeout Trisets and guard
against unintended loss of signal.
For more information on how to create these nodes, see “Adding Nodes” on page 146.
To complete our model, place four Silent nodes, one outside each side. Create Trisets, each
with two Speaker and one Silent Node, or two Silent and one Speaker Node. The Speaker
nodes entirely enclosed within Trisets, sound panning is now gap-free.
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Derived Nodes
The Derived Node provides a way to send a signal to a secondary output whenever that signal
is also being sent to a set of Speaker nodes.
Derived Node Providing a Mono Sum Output in a Quadraphonic SpaceMap
Derived nodes link to one or more Speaker nodes, and receive a sum of the signals from its
linked Speaker nodes. Each link between Speaker nodes and Derived nodes can be adjusted
in decibels, from -89 dB to +10 dB.
Derived nodes are commonly used for subwoofer sends, fill mixes, balconies, and other cases
where a secondary mix-down of a multichannel mix is required. For example, a Derived Node
feeding a single subwoofer would be linked to all the main channels, so that the subwoofer
receives a constant feed even if the source signal is being panned. For more information on
how to create these nodes, see “Adding Nodes” on page 146.
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Link Gains
By default, Virtual and Derived nodes distribute and receive, respectively, an equal proportion
of the signal of their linked nodes. Link Gains allow the alteration of these proportions.
When selecting a Virtual or Derived node and its one or more linked nodes, the amount of
linked gain can be changed using the Set Link Gains command (see “Setting Link Gains” on
page 149).
Link Gains for Virtual and Derived nodes are expressed in decibels, with a maximum value of
+22.1 dB. Any number that is entered, down to -90 dB, is considered negative unless it is preceded by a + sign.
SPACEMAP CONTROLS
In the SpaceMap window, each bus has its own SpaceMap grid view, trajectory parameters,
and tools for editing both maps and trajectories.
At the top of each bus view is the matrix row, which displays exactly how much signal is going
to each output.
SpaceMap Grid
Most of the SpaceMap window is devoted to a drawing area. This is where nodes are placed
and linked, Trisets created, and trajectories are drawn.
TIP: The display scaling can be decreased with Command+[ (Mac) or Ctrl+[ (Windows), and increased with Command+] (Mac) or Ctrl+] (Windows). The display
can be re-centered using the scroll bars.
Grid Settings
There are two different grid options: Cartesian and Polar. The displayed grid type and size can
be changed in the Display menu.
For cleaner-looking maps and trajectories, choose Display > Snap to Cartesian Grid or Display
> Snap to Polar Grid.
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Editing Tools
Directly below the SpaceMap grid view is a row of buttons for selecting different editing tools.
As they appear from left to right, the buttons offer the following functions.
Button
Function
Select
Select objects, Trisets, and Trajectory nodes. (Note that this is different from the
Select button in the upper left corner.)
Add Speaker Nodes
Click the grid to add Speaker nodes.
Add Virtual Nodes
Click the grid to add Virtual nodes.
Add Derived Nodes
Click the grid to add Derived nodes.
Add Silent Nodes
Click the grid to add Silent nodes.
Add Trisets
As the mouse is moved around the grid, preview lines indicate where a Triset would be
placed. Click to create the Triset. Each set is numbered in order of creation.
Test
Drag to test different locations on the grid with the active bus. This is a good way to
experiment with a trajectory path.
Trajectory Playback Controls
Below the SpaceMap grid area, there is a set of trajectory playback controls. The text box displaying a time in milliseconds shows the position of the bus along the trajectory, relative to
time. The transport controls include the following.
Control
Function
Play
Starts the bus moving along the selected trajectory's path. When playing back a trajectory, the
spacebar can be used to play and pause.
Pause
Pauses the movement of the bus.
Stop
Stops the movement of the bus, and repositions it at the start of the trajectory. The Enter key can
be used to stop a playing trajectory.
Record
Enters record mode, for recording a trajectory. The process of recording a new trajectory is fully
described in “Creating Trajectories” on page 149.
Hold
Holds playback of the Trajectory, similar to the way the Hold button holds playback of a Wild
Tracks deck in the Wild Tracks window.
Isolate
Isolates playback of the Trajectory, similar to the way the Isolate button isolates playback of a Wild
Tracks deck in the Wild Tracks window.
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Transport controls can be shown and hidden through the Display menu.
Bus Playback Settings
This section of the window contains the SpaceMap automaton settings for each bus.
Setting
Definition
Trajectory
Select a trajectory from the drop-down menu, or access Trajectory editing functions.
SpaceMap A
Select a map for the trajectory to travel through, or access SpaceMap editing functions.
SpaceMap B
Optionally select a second map, in order to pan the trajectory between two different maps.
The following parameters are visible when Display Show Playback Details is enabled. These
parameters control how a bus moves along the selected trajectory, but do not affect the actual
trajectory. They are not saved with each SpaceMap or Trajectory.
Parameter
Definition
Scale X
Multiplies the value of the X coordinate (horizontal).
Scale Y
Multiplies the value of the Y coordinate (vertical).
Offset X
Adds an offset value to the X coordinate (horizontal).
Offset Y
Adds an offset value to the Y coordinate (vertical).
Divergence
Controls the amount of bleed to all other SpaceMap nodes.
Level
Controls the volume of audio signal routed to SpaceMap nodes, from +10.0 dB to -inf (silence).
Pan
Sets the pan value between two maps. This control has no effect when SpaceMap B is set to
None.
Rate
Controls the relative speed at which the bus moves along the trajectory.
Rotation
Rotates the trajectory path around the origin (0,0) by a relative amount.
Repetitions
Controls how many times the bus traverses the trajectory before stopping.
Position
Sets the starting position of the bus along the trajectory path.
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Trajectory Editor
Choose Display > Show Trajectory Editor to view the Trajectory Editor.
Trajectory Editor
The trajectory editor shows a timeline view of the currently selected trajectory. A drop-down
menu in the upper left changes the Trajectory Editor display between Level, Pan, or Divergence of each TrajectoryNode. Across the top are buttons for scroll to start, scroll left, scroll
right, scroll to end, zoom in, zoom to fit, and zoom out.
These controls affect the actual trajectory, and the parameters affect all buses that uses the
trajectory.
SpaceMap Grid Settings
These settings change the appearance and behavior of the background grid through the Display menu.
Setting
Effect
Show Matrix Rows
Display the matrix rows at the top of the grid.
Show SpaceMaps
Display the grid.
Show Transport Buttons
Display the trajectory playback controls.
Show Trajectory Editor
Display the trajectory editor at the bottom of the screen.
Show Playback Settings
Display the bus playback settings controls.
Show Playback Details
Display the playback details value boxes to the right of the trajectory buttons.
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Setting
Effect
Show Mouse Coordinates
Display a value box to the left of the editing tools, which shows the mouse's
current position as map coordinates.
Show All Bus Positions
Display all bus positions at once on the grid.
Show Bus Names
Display the name of the visible bus points.
Show Names
Display the names of all Speaker nodes.
Show Links
Display all links.
Show Nodes
Display all Speaker nodes.
Show Trajectories
Display all trajectories.
Show Node Durations
Display time between Trajectory nodes.
Show Trisets
Display the Trisets.
Show Images
Display any images added to the SpaceMap.
Opaque Trisets
Display Trisets as filled with color, preventing the grid from being visible
through them.
Show Cartesian Grid
Display a Cartesian (square) grid.
Snap to Cartesian Grid
Snap all SpaceMap objects to Cartesian grid points.
Set Cartesian Grid Spacing
Set the spacing of Cartesian grid lines.
Show Polar Grid
Show a polar (circular) grid.
Snap to Polar Grid
Snap all SpaceMap objects to polar grid points.
Set Polar Grid Spacing
Set the spacing of polar grid lines.
Show Page Group Controls
Shows or hides the Page Group controls on the bottom of the screen. See
“Page Group Controls” on page 199.
Inserting an Image
Image files can be inserted onto the grid as a reference to assist with the placement of nodes.
This function can be used to place an architectural drawing or other reference image directly
onto the SpaceMap grid. Supported file types are BMP, GIF, ICO, JPEG, JPG, MNG, PBM,
PGM, PNG, PPM, TGA, TIF, TIFF, XBM, and XPM.
To insert an image into a SpaceMap:
1. Click either the SpaceMap A or SpaceMap B drop-down menu.
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2. Choose Insert Image.
3. Navigate to the file location of the image and select it.
4. Click Open.
The image is scaled to match the SpaceMap size, and placed on the grid. To move the image,
drag with the Select Objects tool.
Image Control
Images can be resized by Shift+dragging. Image placement and properties can be altered
after images have been inserted into a space map. To change image properties, right-click the
image and select an option from the resulting menu.
Control
Function
Lock Image
Merges the image with the background, removing it from the list of selectable objects.
Unlock Image
Restores the image as a selectable object.
Set Display Priority
A numerical value which instructs the image as to which objects in the SpaceMap to
visually occlude.
Duplicate Image
Inserts an identical copy of the selected image onto the SpaceMap.
Delete Image
Removes the selected image from the SpaceMap.
CREATING A SPACEMAP
This section describes the process of creating and editing a new map.
To create a blank SpaceMap:
1. Click the SpaceMap A button.
2. Select New SpaceMap,
3. Enter a name.
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Adding Nodes
The first step in building the SpaceMap is to add Speaker nodes, Virtual nodes, Derived
nodes, and/or Silent nodes.
1. Click Add Speaker Node.
2. Click anywhere in the map grid to add Speaker nodes.
3. Click Add Virtual Node, Add Derived Node, or Add Silent Node, then click the grid to add
other types of nodes.
Speaker nodes and Derived nodes are numbered with the corresponding output channel.
Modifying Nodes
1. Click the Select tool.
2. Select the nodes to be modified. Click a single node to select it. Several nodes can be
selected by holding down the Shift key while clicking nodes, or by dragging a selection
box around them.
Other operations that can be performed with the Select tool include:
■
Drag the node(s) to a new position.
■
Change the node(s) types. Right-click the selected node(s), choose Set Nodes Types, and
select Speaker, Virtual, Derived, or Silent.
■
Delete the node(s). Use the Delete key, or right-click one of the selected node(s) and
choose Delete Nodes.
■
Link or Unlink the connection between virtual or Derived nodes and their associated
Speaker nodes. Right-click the selected node(s) and choose Link Virtual/Derived Nodes or
Unlink Virtual/Derived Nodes.
■
Change the output channel for a single node. Select a node and type the channel number
of the output. Or, right-click a node, select Set Output, and choose an output channel
number.
■
Give a single node a name. Right-click a node and choose Rename. The name is displayed
beside the node.
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Right-click a node (or set of nodes) to edit it with the following parameters.
Parameter
Definition
Set Node Type
Select from Speaker, Virtual, Derived, or Silent.
Set Output
Select the output number from the list, or type a number and press Enter.
Set Aux
Select the aux number from the list, or type a number and press Enter.
Set Node Trim
Enter a trim level for the node.
Rename Node
Enter a new name for the node (this does not change the number in front of
the name).
Add Triset
When three nodes are selected, choose Add Triset to create a Triset connecting them.
Delete Triset
Removes the Triset.
Link Virtual/Derived Nodes
Creates links between the Virtual or Derived Node and the currently selected
Speaker nodes.
Unlink Virtual/Derived Nodes
Removes any links to the currently selected nodes.
Set Derived Link Gains
Type in a number from +22.1 dB to -99.8 dB.
Delete Node
Deletes the currently selected nodes.
Creating Trisets
Add Trisets to create zones for the SpaceMap buses to move through. buses that are outside
of a Triset do not produce any output signal.
1. Click Add Triset.
2. Move the pointer to the middle of any three nodes. A light green line shows the proposed
Triset.
3. Click to create that Triset.
Alternatively, three nodes can be selected and combined. Right-click and choose Add Triset.
To rename a Triset, right-click the Triset and choose Rename Triset.
!
CAUTION: Trisets can not overlap one another: signal distribution would be
unpredictable within the overlapped areas.
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Deleting Trisets
1. Click Add Trisets.
2. Click a Triset to remove it.
Alternatively, using the Select tool, right-click a Triset and choose Delete Triset. If a node that
is part of a Triset is deleted, the Triset itself is deleted as well.
Testing Trisets
1. Set mixer control points to route audio signal to a bus.
2. Click the Test button.
3. Drag the bus through the map.
If the Speaker nodes are sending to functioning loudspeakers, the sound pans through the
Trisets.
Output signal distribution changes as the bus is moved; the bus is represented as a small hollow circle. Its label corresponds to the bus label. Level changes can be observed in the Matrix
display, and at the top of the SpaceMap window.
Linking Nodes
Derived nodes and Virtual nodes must be linked to Speaker nodes in order to function.
1. Select the virtual or Derived Node, plus other nodes to link it to. For Virtual nodes, these
are nodes that receive signal from the Virtual Node. For Derived nodes, these are nodes
that send signal to the Derived Node.
2. Hold down the Shift key and click each node to select them.
3. Right-click the selected nodes and choose Link Virtual/Derived nodes. Each link is labeled
with its Link Gain, a value representing the proportion of signal it sends.
Unlinking Nodes
To remove all the links for a virtual, derived, or Speaker Node, right-click the node and choose
Unlink Virtual/Derived nodes.
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Setting Link Gains
Link Gain behaves like a trim control, adjusting the level of the original signal that reaches Virtual or Derived nodes.
To change Link Gain:
1. Right-click a Link Gain value and choose Set Link Gain.
2. Enter a new value.
3. Click OK.
CREATING TRAJECTORIES
Once a Triset layout has been created, SpaceMap Trajectories can be created and used in
cues.
Creating a New Trajectory
To create a SpaceMap Trajectory:
1. Click the Trajectory button, and select New Trajectory.
2. Enter a name for the trajectory.
3. Click Record. The Record button blinks red.
4. Draw the trajectory on the grid by clicking its start position, then clicking at several discrete locations along the desired trajectory path. Paths can also be drawn by clicking and
dragging.
CueStation automatically connects the dots. The time interval between dots initially corresponds to the time between clicks (see “Modifying a Trajectory” on page 150).
5. To stop recording, right-click in the SpaceMap grid, or move the mouse outside the
SpaceMap pane.
Trajectories can be re-recorded by clicking Record again and drawing a new path. This clears
the trajectory that was previously recorded.
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TIP: Shift-click the Record button to pick up drawing a trajectory where it was left
off. The button blinks yellow instead of red to indicate that the trajectory does not
clear when recording starts.
Auto-Cue
To record a trajectory in time with Wild Tracks playback, or other types of automation, use the
Auto Cue function:
1. Click the Record button. An Auto Cue checkbox and a Cue text box become visible to the
right of the Record button.
2. Click the Auto Cue checkbox to enable Auto Cue.
3. Type a Cue ID in the Cue text box. This cue is recalled when the first trajectory point is
reached.
4. Click the map to add a trajectory point. The cue is recalled. Continue placing trajectory
points as needed.
5. To stop the trajectory recording, move the mouse outside the SpaceMap grid.
TIP: Cues can be set to recall along existing trajectories by right-clicking a TrajectoryNode and assigning a text command, e.g. Recall Cue 123.
Modifying a Trajectory
To edit a SpaceMap trajectory:
1. Select the trajectory from the drop-down menu beside the Trajectory button.
2. Click the Select tool.
3. Select points on the trajectory.
Multiple Trajectory nodes can be selected using the Shift key or by dragging a selection box
around them. To select and edit multiple noncontiguous Trajectory nodes, hold Shift+Option
(Mac) or Shift+Alt (Windows).
Any of the following operations can be performed on Trajectory nodes:
■
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■
To delete a TrajectoryNode, right-click it and choose Delete TrajectoryNode.
■
To insert Trajectory nodes, right-click a line segment and choose Insert TrajectoryNode.
■
To adjust duration, right-click a selected TrajectoryNode or line segment and choose Modify Duration. If multiple Trajectory nodes have been selected, the change in duration is distributed proportionally.
■
Trajectory nodes can recall commands. Right-click a TrajectoryNode and choose Set Text
Command. This function can be used to recall cues and subcues once the trajectory
passes over a chosen node.
■
To adjust the offset of an individual segment, right-click the line segment and choose Modify Offset. While the offset can be changed for multiple selected segments, the result also
changes the durations of the segments. An alternative to modifying offset for multiple segments is changing the overall duration.
■
To name the TrajectoryNode, right-click the point and choose Rename TrajectoryNode.
Testing a Trajectory
SpaceMap trajectories can be tested by playing them:
1. Select the trajectory from the drop-down menu next to the Trajectory button.
2. Click Play.
3. To stop playback, click Stop.
TIP: Observing the Matrix while the bus is moving (by dragging the test control or
by playing a trajectory) helps identify awkward transition zones. To ensure seamless panning, check that the Trisets have no gaps, and consider using Silent nodes to
create a smooth fade-out zone when moving to areas beyond the loudspeaker output
sets. A trajectory that crosses any part of the SpaceMap window that is not inside a
Triset results in a complete dropout of the signal. It is a useful practice surrounding the
main part of the map with a safety zone of Trisets that includes one or two Silent nodes.
This results in the sound fading as the bus moves toward the Silent nodes.
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Automatic Trajectory Generation
CueStation can auto-draw a trajectory based on a parametric equation. To access this function:
1. Open the Commands window and add a SpaceMap type entry.
2. Change the Command to AutoDraw Trajectory.
3. Enter the values and functions to generate the X and Y coordinates, duration, pan, divergence, and level for each point. The default values create a circle.
4. Click Recall Selected to have the trajectory drawn automatically.
This External Command can also be used in a subcue.
CREATING SPACEMAP TRAJECTORY SUBCUES
Once a trajectory has been created, trajectory playback can be added to a cue.
1. Channel Select the bus to assign it to the trajectory.
2. For that bus, select a trajectory, along with a SpaceMap A (and optionally a SpaceMap B).
The SpaceMap grid reflects what you are about to capture.
3. Open the Capture window using F4, and type a name for the new cue. Or, open the Capture window using F2, and select an already existing cue to add trajectory automation.
4. Under the bus/matrix category, add a check next to SpaceMap Trajectory, to include that
subcue type in the new cue.
5. Click the Capture button in the bottom right to create the new cue. When the cue is
recalled, the selected bus starts moving along the trajectory.
TIP: The current playback position along the SpaceMap trajectory is captured
with the cue and saved as the Trajectory PositionPercent control point. A Trajectory PositionPercent of 0.00% sets the cue to start playback at the beginning of the trajectory.
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CHAPTER 10: WILD TRACKS
Wild Tracks is the audio playback and recording system for D-Mitri. It uses solid state drives
to store audio files.
WILD TRACKS WINDOW
The Wild Tracks window is where Wild Tracks Decks can be set up and controlled. Each Wild
Tracks Unit has 32 decks.
Wild Tracks Window
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A Wild Tracks Deck is a collection of Wild Tracks entries which all share the same timeline and
transport controls. Decks can be triggered individually or in groups. A Wild Tracks entry can
be the playback of an audio file or tone generator, the recalling a cue or subcue, and a few
other types. These are covered in “Wild Tracks Entries” on page 169. These entries can be
arranged in time to create complex multitrack sequences, then captured into a Wild Tracks
Deck subcue. This process is explained in “Wild Tracks Subcues” on page 173.
If you are familiar with multitrack audio editing programs, you can think of each deck as a separate multitrack session, each of which can be captured into a cue and recalled independently. Each deck has a timeline, transport controls, and a list of entries (usually audio
files) associated with it. Capturing a deck into a cue captures all of the information about the
entries (including timing placement within the deck, volume envelopes, and loops) in addition
to information about the deck as a whole (such as cursor placement or timecode locking).
Wild Tracks entries can be audio files, tone generators, or even a cue recall. Entries that have
audio associated with them can be assigned to any of the Wild Tracks channels, as configured
in the Mixer Configuration window. You can even assign multiple entries to the same channel.
The Wild Tracks window has four areas, each of which can be turned on or off in the Display
menu. These are Meters, Deck Graphics, Deck Info, and File Search Path.
Meters
The Meters area of the Wild Tracks window displays the audio playback activity for all channels, as well as global Wild Tracks controls.
Wild Tracks window, Meters Area
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This section includes the following controls.
Control
Function
Units Selected buttons
Units Selected toggles channel select for all Wild Tracks modules.
Decks Selected button
Decks Selected toggles channel select for all Wild Tracks Decks.
Select Unit N
Selects the currently displayed Wild Tracks module.
Wild Tracks Unit Label
Displays the name of the selected Wild Tracks module.
Master Hold button
Click the Master Hold button to hold all decks of the current Wild Tracks
module, effectively pausing playback from all those decks currently playing, and preventing the initiation of playback from those decks in the
module not already playing. Click the Master Hold button again removes
the hold on all decks in the current Wild Tracks module, and decks which
had been playing when the hold was placed resume playback.
Unit Stop button
Stops all the playbacks from decks in the current Wild Tracks module,
without affecting other functions, such as autofollow and SpaceMaps.
Drive Setup button
Opens the Setup Drives window (see “Setup Drives Window” on
page 156).
Isolate button
Toggles automation isolation for all decks in the current module, or, if chosen, for all decks in all modules.
Channel Metering
Meters for each channel of playback. The number of channels is configured in the Mixer Configuration window.
PAFL button
(one per channel)
Each PAFL button is labeled with the Wild Tracks Send channel number.
To use this feature, you must have at least one output configured as a
PAFL. The PAFL button’s mapping follows the PAFL mapping established
in the Inputs window, the checkboxes in the left column of the Inputs window control these PAFL buttons the same way they control the L button in
the Inputs window. It is also possible to bring up the Show Signal Path
dialog by right-clicking any Send channel number.
Deck Indicator button
(one per channel)
These are below the PFL buttons. If audio is playing on a channel, the
button displays the number of the deck in use. The Deck Indicator button
is a shortcut to display the deck that is playing audio on that channel.
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Tablet Controls
The Wild Tracks window has additional channel editing controls, accessible through the Display menu. These controls are particularly useful for tablet/touch screen displays, but can also
be used with a regular mouse.
When Display > Show Tablet Controls is enabled, five buttons are displayed across the bottom of the window.
Control
Description
Show EQ
When the Show EQ function is active, touching or clicking a meter causes the corresponding
channel processing window to open, allowing quick access to EQ, dynamics, and delay controls.
Mute
When the Mute function is active, touch or click a meter to mute that channel.
Show Strip
When the Show Strips function is active, touch or click a meter to open the corresponding
mixer window, with the selected channel in the first column.
Isolate
When the Isolate function is active, touch or click a meter to isolate that channel.
Select
When the Select function is active, touch or click a meter to select that channel. Several channels can be selected at one time.
Setup Drives Window
The Drive Setup button brings up the Setup Drives window, where you can import audio
(“Importing Audio Using Drive Setup” on page 157) and create virtual drives (“Using Wild
Tracks Offline” on page 183). The contents of the window depend on which tab is selected.
Setup Drives Window
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The title bar of the Drive Setup window now indicates what role (if any) the Wild Tracks module
is currently playing (active or backup).
Importing Audio Using Drive Setup
The Setup Drives dialog makes it easy to import files into the Wild Tracks window:
1. Click the Drive Setup button to open the Setup Drives dialog.
2. Click the Drive Contents tab and navigate to the folder.
3. Drag the audio file(s) from the local directory to the Drive Contents tab.
4. Drag the file(s) to the Wild Tracks window to place it in the Wild Tracks deck.
Drive Setup Tab
The Drive Setup tab offers tabular data and buttons, as outlined in the following table.
Button/Column Data
Function/Definition
Mount Point
Refers to the physical location of the Wild Tracks drives; left drive sled or
right drive sled.
Drive Status
Status of the Wild Tracks drive: Online or Offline.
FSType
Displays what file system (if any) is installed on the drives. This column is
populated even when the drives are not mounted.
Volume Label
Name of the drive. This value is editable, and can be used to set the name
of the drive as it should appear in the Drive Setup pane henceforward.
Size
Total size of the drive.
Used
Amount of space currently assigned to files.
Available
Amount of free space.
Comment
Enter text comments here.
Close
Click to close the window.
Mount Drives
Click to search for connected drives that are not listed in the Setup Drive
window.
Unmount Drives
Click to stop the drive so it can be safely disconnected (similar to ejecting
a flash drive before physical removal).
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Button/Column Data
Function/Definition
Verify Subcues
Click to check if the subcues are present on all locally mounted drives.
Create Virtual Drive File
Click to create a virtual drive file.
Backup Drive
Click to back up one selected drive to another.
Format Drive
Click to format the selected drive. (This erases all content on the drive, a
confirmation dialog is displayed.)
Repair Drive
Click to attempt repairs to the selected drive.
Drive repair is generally used to attempt recovery of a drive’s file system
on those rare occasions when the file system structure has become corrupt. This function does not recover damaged files, but rather recovers
access to files by attempting to repair a drive’s file system.
Drive Contents Tab
A row of buttons runs at the top of the tab.
Button
Function
Refresh Directory
Click to refresh the window.
Viewing:
Text box that displays the current directory's file path.
Parent Directory
Click to go up one directory level.
Create New Folder
Click to create a new folder in the current directory.
Copy Selected Files
Click to copy the selected files and/or folders.
Cut Selected Files
Click to cut the selected files and/or folders.
Paste Selected Files
Click to paste the copied/cut files and/or folders.
Delete Selected Files
Click to delete the selected files and/or folders. The Delete function does
not move a file to the trash for possible retrieval later; the file is deleted
from the drive completely.
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Upper Section
The upper section of the Drive Contents tab contains the following controls.
Checkbox/Column Data
Function/Definition
Upload to both Drives
When selected, any file you upload to one drive is automatically copied to
the other drive as well.
Upload to both Modules
On a system configured with redundant Wild Tracks modules, CueStation
presents an Upload to both Modules checkbox. When this checkbox is
selected, CueStation directs uploaded files to both the primary and
redundant Wild Tracks modules. This checkbox can be used in conjunction with the Upload to both Drives checkbox to simultaneously upload to
four different destination drives (two drives on each module).
File Name
The name of the file.
File Size
The size of the file in MB.
Audio Length
How long the file plays in hours, minutes, seconds, frames, subframes.
Chans
The number of channels within the audio file.
Last Modified
The last date the file was modified.
Lower Section:
The lower section of the Drive Contents tab contains the following controls.
Button/Column Data
Function/Definition
Status
The percentage completed of a file download or upload.
Xfer Speed
Transfer rate in megabytes per second.
Xfer Information
What files or folders are being downloaded or uploaded. If multiple files
are being downloaded or uploaded simultaneously, the information for all
the file transfers appears on a single line, which is updated as the transactions progress. For example, for a download of six files, the information
line reads 1/6 for the first of the six files, 2/6 for the second, and so on.
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Button/Column Data
Function/Definition
Import Files
Imports audio files from any connected directory.
Import Folder
Imports folders and their contents from any connected directory.
Remove Selected File Transfers
Click to stop an exporting file in mid-transfer.
File transfer is an incremental process. If stopped in the middle of a transfer, an incomplete file of whatever percentage had finished downloading
remains on the destination drive(s).
Deck Graphics
The deck graphic display shows the relative position of the Wild Tracks entries included in that
deck.
Wind Tracks Window, Deck Graphic Display
The controls for this area are as follows:
■
Controls for panning and zooming of the deck view: Scroll to Start, Scroll Left, Scroll Right,
and Scroll To End.
■
Horizontal zoom controls: Zoom In, Zoom to Extents, and Zoom Out.
■
Three sets of timecode numbers, which define the span of locations currently visible within
the deck view. From left to right, the numbers indicate the minimum location, the median
location, and the maximum location that are visible within the window.
■
If there are any Wild Tracks elements enabled on the deck, they are represented by a green
bar in the timeline view. Drag audio files in the timeline view to change the time when that
file starts playing.
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Right-click an element in the timeline to display a context menu with the following options.
Menu Item
Function
Render Track Waveform ([length]) This allows you to view the waveform of the track you are using, similar to
many multitrack editing programs. In order to preserve processing power,
only the portions of the files that are currently visible within the deck are
rendered.
Render All Track Waveforms
([length])
Selecting this will cause all waveforms in the deck to be rendered.
Cancel Waveform Rendering
Stops rendering the selected file.
Cancel All Waveform Rendering
Stops all rendering.
Clear Waveform Image
Clears the waveform rendered on the selected track.
Clear All Waveform Images
Clears the waveforms rendered on all tracks.
Clip Initial Silence
Adjusts the Wild Tracks Entry to eliminate silence at the beginning of the
track. Choose the threshold (dB) for determining where silence ends and
audio content begins. (The file itself is not changed.)
Seek to Beginning of Track
Click to go to the beginning of the track.
Seek to End of Track
Click to go to the end of the track.
Clear Selected Track Region
Click to remove a selected portion of the track.
Select Entire Track as Track
Region
Selects the entire track.
Select Intro Region as Track
Region
Selects only the intro region of the track (from the left edge of the green
bar to left edge of the first loop).
Select Loop Region as Track
Region
Selects only the loops region of the track.
Select Outro Region as Track
Region
Selects only the outro region of the track (from the right edge of the last
loop to the right edge of the green bar).
Clear Track Loop Region
Click to clear any looping designations on a track.
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Menu Item
Function
Clip Track to Selection
This option is only available if a region is selected, and it will set the File
Offset, Play Offset, and Play Length values to correspond with that region
of the file.
Unclip Track
Click to reset File Offset, Play Offset, and Play Length values back to their
defaults.
Make Batch File from Track
This will make a batch file of the track you have selected, which can then
be used in other subcues.
TIP: Use Command+[arrow keys] (Mac) or Ctrl+[arrow keys] (Windows) when a
file is selected in the timeline to snap it to the nearest edge of another file, the top
of the deck, or the cursor.
Changing the Height of Tracks in Timeline
The deck timeline can be zoomed vertically as well as horizontally. Use the following Display
menu commands to change the vertical zoom.
Command
Function
Make Bars Shorter
Zoom out vertically.
Make Bars Taller
Zoom in vertically.
Reset to Default Bar Height
Reset to the default zoom level.
Wild Tracks Envelopes
In the Wild Tracks window, you can draw volume envelopes in the Deck timeline, and capture
them as part of the Wild Tracks Deck subcue. This allows greater control over level adjustments between tracks and reduces the number of additional cues required to make level
changes.
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Right-click a track in the timeline to access the following options.
Option
Function
Adjust Envelope Levels in
Selected Range
This will adjust all selected points by the same amount. This is only
enabled when a region of the entry is selected.
Convert Envelope to 'Simple/
Loop-Aware' Envelope Type
There are two types of envelope types: Simple and Loop-Aware. LoopAware envelope points will repeat with looped regions, whereas Simple
ones will not.
Clear Envelope Points in
Selected Range
Clears all of the envelope points in the selection.
Display File Format Information
Displays the file format type (WAV, AIFF, etc.).
TIP: When editing envelope points in the Wild Tracks window, you can hold Shift
when dragging to only affect the time (horizontal movement). Hold Option (Mac)
or Alt (Windows) to only affect the level (vertical movement). Hold Command (Mac) or
Ctrl (Windows) for fine control of point movement when zoomed out.
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Deck Info
The Deck Info area consists of two sections: Deck Controls and Wild Tracks Elements.
Deck Controls
The Deck Controls section has options and controls that relate to the entire deck.
Wild Tracks Window, Deck Controls
The following table contains a list of deck controls accessible from the Wild Tracks window.
Option/Control
Function
Deck ID number
Click to select a deck for capturing subcue information.
Deck Label
Displays the ID number of the subcue recalled for that deck, the name of
the file assigned to that deck, and the Wild Tracks and Deck ID numbers.
Deck Playback Position
Shows the current cursor position within the timeline of that deck.
Transport buttons
Play, Pause, Stop, and Record.
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Option/Control
Function
Total Play Length
Shows total play length.
Hold button
Acts similar to a pause button, but does not affect the playing/stopped
status of the deck.
Isolate button
When the Isolate button is active (yellow), the deck will not be affected by
cue automation.
Add Entry
Allows you to add a Wild Tracks element to the deck. This can include a
file for playback, a tone or noise generator, or a few other types; see “Wild
Tracks Entries” on page 169.
Choose Files
Opens a dialog box to add audio files to the deck. You can also add files
by dragging them into the Deck Info area from a directory listing.
Replace File Names
Allows you to switch out the selected file for a different one.
Delete Selected
Removes the selected element from the list.
Set/Recall Rehearsal Point buttons
These allow you to place or go to rehearsal points in the deck, which
means you can start a Wild Track at any point in its playback sequence.
For more information on setting and recalling rehearsal points, see “Set/
Recall Rehearsal Points” on page 168.
Deck Play Offset
Indicates the point on the deck timeline where playback will start. The
default is the beginning of the deck.
Lock to Timecode checkbox
Locks the deck transport to external timecode.
Timecode field
Used to lock the deck playback to timecode. Playback will stop when the
Timecode stops, or the deck reaches the end of the playback range.
Deck Enabled
Normally selected, activating the subcue. When this box is unchecked,
the subcue will not play back when recalled. If you are programming a
sequence of overlapping Wild Tracks Deck cues, this allows you to listen
to only the subcues you are working on.
Any Deck checkbox
If checked, signifies that the Wild Tracks subcue does not explicitly specify which deck should be used for that subcue. In this case, when the
subcue is recalled, CueStation assigns it to a deck that is currently not in
use, starting with the highest number available. If Any Deck is NOT
checked, then every time the subcue is recalled, it will use the same deck.
Deck Key text box
To set a key for the deck. More information about using deck keys can be
found in “Advanced Techniques” on page 181.
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Option/Control
Function
On Recall drop-down menu
To select which state the deck should be in when recalled by a subcue.
On Complete drop-down menu
To select the desired action when the deck cursor reaches the end of the
last entry in the timeline.
Action text box
(beside On Complete drop-down
menu)
Provides the option of assigning any valid text command, as described in
Appendix C, “D-Mitri Text Commands.”
TIP: When using multiple decks, it can be difficult to keep track of which decks
are playing. To create a compact Wild Tracks display, choose Windows > Clone
Window command, and turn off all display options. This creates a second Wild Tracks
window that displays only the deck label, deck playback position, and transport buttons.
Compact Wild Tracks Display
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Wild Tracks Elements
The next area within the Deck Info section is a list of all the elements included within the Wild
Tracks Deck subcue.
Wild Tracks Window, Elements Section
Click a column heading to sort the elements alphabetically by the contents of that column.
Click it again to sort them in reverse order.
Element
Function
Type
Shows the type of element, and also determines what kind of information
is listed in the File Name column. Right-click in the Type column to
change the type of element. See “Wild Tracks Entries” on page 169 for a
full description of these types.
File Name
Identifies the name of the file, if the entry is a Playback type. If it is a
Record entry, File Name indicates the name of the file that will be written
to.
Sends
Specifies a list of Wild Tracks sends to which the audio should be routed.
Loops
Allows you to replay the file or file region repeatedly. Set this value to -1 to
loop indefinitely.
Level
Specifies the volume level (in dB) of the file or tone generator.
Play Length (hh:mm:ss:fr:sf)
Specifies the duration of playback. Note that this can be set to a value
shorter than the actual length of the file to play back a region of the file.
Loop Start
Sets the start time of the region to be looped. The default is the start of
the file, but you can create smaller regions within the file to be looped.
Loop End
Sets the end time of the region to be looped.
Cross Fade
Sets the amount of cross fading you want Wild Tracks to use for loop-iteration discontinuities. The default cross fade time is 30ms. For no cross
fade, set it to 0ms. There is no maximum cross fade time, although values
greater than half of a loop iteration will be treated as if they were equal to
half of a loop iteration.
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Element
Function
File Offset
Specifies the point within the file where playback should begin. This,
combined with Play Length, allows you to play back a region of the file.
Play At
(hh:mm:ss:fr:sf)
Specifies the point in the deck timeline where the file will start playing.
File Format
Displays the format of the file, for recording entries.
ID
Sets a unique ID for the file entry.
Enabled
Displays whether the track is enabled or disabled.
Paths
The File Search Path is the default directory that Wild Tracks searches for audio files on the
Wild Tracks drives. Recording path is the default directory where Wild Tracks will record audio.
Wild Tracks Window, Paths Section
Set/Recall Rehearsal Points
The Set Rehearsal Point and Recall Rehearsal Point buttons allow you to place or go to
rehearsal points in the deck timeline.
Points
Rehearsal
Set and Recall
Rehearsal Point
buttons
Wild Tracks Window, Rehearsal Point Controls
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To set and recall rehearsal points:
1. In the Wild Tracks deck, move the red time indicator bar to the desired spot.
2. Click the Set Rehearsal Point button. A rehearsal point selection dialog is displayed.
Rehearsal Point Selection Dialog
3. Select the letter you want to associate with the rehearsal point.
The rehearsal point will be placed at that point in the Wild Tracks deck. To start the cue at a
rehearsal point, click Recall Rehearsal Point and select the point's letter from the context window.
WILD TRACKS ENTRIES
This section describes the different types of Wild Tracks deck entries and the parameters
associated with them.
Entry Parameter
Definition
Playback
The Playback type has an audio file associated with it, which will be
played according to the offset and loop values. The file will be listed in the
File Name column.
Record
Indicates that when the subcue is recalled, recording will begin on that
deck, on the channel(s) listed in the Sends column.
Sine Wave
Generates a sine wave for an infinite length of time. The default frequency
is 261.63 Hz (middle C), but you can specify any frequency between 1Hz–
24kHz by typing the number into the File Name column.
Pink Noise
Generates an infinite amount of pink noise.
White Noise
Generates an infinite amount of white noise.
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Entry Parameter
Definition
Frequency Sweep
Generates a series of tones that sweep a range of frequencies. The
default is a five second sweep that rises from 20Hz to 20kHz. To adjust
the length of the sweep, enter a different value into the Play Length column. To adjust the starting frequency, type the value into the File Name
column. For example, type pitch=500 to start at 500Hz. To specify both
starting and ending frequencies, specify the pitch twice. For example,
type in pitch=500 pitch=100 to specify a sweep that starts at 500Hz and
sweeps down to 100Hz.
Square Wave
Generates a square wave of infinite length. The frequency and duty cycle
can be specified in the File Name column. For example, enter 440
duty=50 in the File Name column to generate a wave at 440Hz with a duty
cycle of 50%.
Triangle Wave
Generates a triangle wave. The frequency and duty cycle can be specified
in the File Name column. For example, enter 440 duty=50 in the File
Name column to generate a wave at 440Hz with a duty cycle of 50%.
Sawtooth Wave
This generates a sawtooth wave. The frequency and duty cycle can be
specified in the File Name column. For example, enter 440 duty=50 in the
File Name column to generate a wave at 440Hz with a duty cycle of 50%.
Command
Executes the specified text command. Right-click the File Name field of a
Command entry to reveal examples of commands that can be executed.
The commands include Recall Cue, Recall Subcue, Update Cue, Update
Subcue, Print Message to Log, and others. You can create a Recall Cue
or Recall Subcue entry by right-clicking a cue or subcue and dragging it
into a Wild Tracks deck or Wild Tracks deck subcue.
Rehearsal Point
Sets a rehearsal point in the timeline view.
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Command Cue Context Menu
For cues with the Command Type, right-clicking in the File Name area activates a new context
menu containing descriptions of commonly used D-Mitri Text Commands. You can leave the
command as-is or edit it to suit the parameters.
Command Cue Context Menu
Example: after selecting Go Next from the context menu, the text Go on Player 1 appears in
the cell. This command presses the GO button in the Transport Window for Cue List Player #1
when the command track is played.
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NOTE: Any valid D-Mitri text command can be entered into the File Name field.
The context menu only provides examples of commands that are likely to be
useful when being executed from a Wild Tracks deck. For more information on D-Mitri
text commands, see Appendix C, “D-Mitri Text Commands.”
Text Command
Function
Recall Cue
Brings up the Select a Cue dialog with a list of current cues, along with
their ID numbers and names.
Recall Subcue
Brings up the Select a Cue dialog with a list of current subcues, along
with their ID numbers and names.
Update Cue
Brings up the Select a Cue dialog with a list of current cues, along with
their ID numbers and names.
Update Subcue
Brings up the Select a Cue dialog with a list of current subcues, along
with their ID numbers and names.
Go Next
Equivalent to pressing a GO button in the Transport window. If on player
N is specified, then the GO button will be pressed on Cue List Player #N.
If not, it will default to Cue List Player #1.
Skip to Previous Cue Entry
Skips to the previous cue position in the Transport window.
Skip to Next Cue Entry
Skips to the upcoming cue position in the Transport window.
Print Message to Log
Prints the specified text to the system log.
Set Control Point Value
Sets the specified values to the specified addresses. The syntax is similar
to what is seen in Mixer Parameter subcues. For example, set input
1–8 level = +5.5 or set output 5,7,9–11 mute = false. The
following example specifies a wait of 5.5 seconds followed by a fade over
10 seconds:
set input 1 level = –50.0 waitTime=5.5 fadeTime=10.0
Sent Trigger Event
Sends a Trigger Event to the D-Mitri system. Any triggers (previously set
up with the External Control/Setup Triggers command) that match eventstring will be activated.
Sent Message to Python Script
Launches a new Python script process in the specified slot in the Script
Execution window. A slotindex value of –1 will cause the script to be run
in the background (not shown in the Script Execution window). The filename should be the name of a python script in the Support Files window,
or in the templates folder.
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Also, for cues with the Command Type, the file name of any cue or subcue now includes its
reference name (such as Recall Cue 0).
Select a Cue Window
To assign a cue to a Command entry, right-click the File Name field to display the available
command types. The Select a Cue window is displayed when choosing Recall Cue, Recall
Subcue, Update Cue, or Update Subcue. The Select a Cue window contains a list of current
cues or subcues, along with their ID numbers and names.
Select a Cue Window
When a cue or subcue is selected, the effect depends on whether you previously selected
Recall or Update.
Command
Function
Recall Cue/Subcue
Selected cues or subcues will recall when triggered.
Update Cue/Subcue
Allows modification of the selected cue or subcue so that its control
points match the values of those control points currently set in CueStation.
WILD TRACKS SUBCUES
Wild Tracks Deck subcues contain a variety of information about playback (or recording) of
audio files. Each subcue corresponds to a single Wild Tracks Deck, which can contain up to
24 tracks of audio playback. You can specify the deck number explicitly, or set it to Any Deck
to let CueStation choose a deck automatically.
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There are two main methods of creating a Wild Tracks subcue. The easiest and fastest
method is by dragging audio files into the Cue List window. Another method is to set up a
multitrack sequence within the Wild Tracks window.
Creating a Wild Tracks Subcue in the Cue List Window
This is the quickest way to create Wild Tracks subcues.
1. Open the Cue List (or Cue Library) window.
2. In the operating system, open a file browser window and navigate to the wtrxaudio
directory.
3. Click an audio file and drag it directly into the list of cues section of the Cue List window.
CueStation will automatically create a cue that contains one Wild Tracks deck subcue with
the following information:
■
The subcue will be a playback type Wild Tracks deck subcue, with the file offset, play offset, level, loop count, and playback position set to defaults.
■
CueStation will automatically detect how many tracks are in the audio file and assign it the
appropriate number of sends.
■
In the subcue, the Name field will be set to an asterisk (*), which signifies Any Deck. When
the cue is recalled, CueStation will automatically assign it to the first available deck, starting with the highest number. For instance, if you have 32 decks, the cue will be assigned to
deck 32, unless that deck is already in use, in which case it will be assigned to deck 31.
At this point, you can edit the subcue directly within the Cue List window. If you want to
change the deck number, for instance, that can only be done by editing the Name field in the
subcue.
Or, if you recall the cue, you can then set the input levels, pans, and other settings appropriately, and then use Capture Differences to add these control points into the same cue.
When the subcue is recalled, the Deck Label in the Wild Tracks window is automatically set to
the name of the subcue, as shown.
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Creating a Wild Tracks Subcue in the Wild Tracks Window
This method of creating a Wild Tracks deck subcue is useful for creating more complex multitrack sequences.
1. Open the Wild Tracks window and locate a deck that is not in use.
2. Drag in audio files; playback entries will be created for them automatically. Alternatively,
you can click Choose Files to add audio files. The sends are assigned automatically for
each file, but can be changed by clicking in the Sends column and typing in new channel
numbers. Multiple Wild Tracks files can be assigned to the same channels.
TIP: Drop a file directly onto a meter to automatically assign the file to that channel.
As files are added, they appear in the timeline view as green bars. Drag the green bars to
move them forwards or backwards in time within the deck.
3. You can fine-tune the timing by editing the Play Offset value for each file. This value determines the point in the deck's timeline where the file will start playing. Level is set to 0 dB
by default; this can also be edited to balance out the mix within that deck. Additionally, different levels can be assigned for each track in the audio file, separating the values with
commas (for instance: –10,–5). If volume envelopes are added, this value will be replaced
with envelope values.
4. To loop part or all of a file, set the Loops value to the number of times the file should be
looped, or type –1 for infinite looping. See “Regions, Loops, and Vamping” on page 180 for
more information.
5. After adding files and arranging them in the deck timeline, Click the Select Deck button.
6. Press the F4 key to open the Capture window. The selected deck is listed in the Channel
Selects area.
7. If the deck is the only thing you are capturing into the cue, make sure that all other subcues types are unchecked, then click the checkbox next to Wild Tracks Deck.
8. Click to Capture New to capture the cue.
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Editing a Wild Tracks Subcue
Wild Tracks parameters captured by CueStation can be directly edited in the subcue window.
Subcue Library Window, Details for a Wild Tracks Subcue Displayed
Wild Tracks subcues can also be created entirely within the Subcue Library. Use Subcues >
New Subcue > Wild Tracks Deck to create a new subcue. Controls are similar to those
described in “Wild Tracks Window” on page 153, with several additional options. The following values constrain the operation of the entire deck.
Parameter
Function
Deck Enabled
Normally selected, activating the deck. When not selected, the deck will
not respond to automation. This allows you to easily skip specific subcues while designing the list.
Deck Recall Position
(hh:mm:ss:fr:sf)
Specifies the point along the deck timeline at which the deck cursor will
begin playback.
On Recall
Selects one of the following values:
Continue
This will load in the new deck info, without affecting the playback status
of the deck. If the deck was paused before the subcue was recalled, then
it will remain paused.
Stop
This stops the deck when the subcue is recalled.
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Parameter
Function
Play
This loads the start of the file into the playback buffer, and then starts
playing audio.
Play from Top
This works similarly to Play, except that the Deck Recall Position is
ignored and playback always starts from the beginning of the deck.
Record
This lets you record audio from an input channel to a file on the Wild
Tracks drive.
WTRX
Specifies the Wild Tracks module used by the subcue.
Deck
Specifies the Wild Tracks deck within that module. Enter an asterisk (*) to
signify Any Deck.
On Complete
Stop (default): When the cursor reaches the end of the last entry in the
timeline, playback stops and the cursor returns to the beginning of the
deck.
Pause: The deck will pause after the last entry, with the cursor remaining
in place.
Reset Deck: Removes all entries and resets deck parameters to default
values.
Clear Deck: Removes all entries.
Disable Deck: Disables the deck.
Continue: The deck continues playing past the end of the last entry.
Continue from Top: The deck starts playing at the beginning of the deck.
Assigning Multitrack Files to Sends
Track assignments are made in the order listed in the Sends column. The first track of a multitrack file is mapped to the first send listed, the second track to the second send listed, and so
on.
For example you could specify 8,1,6,2–4, so that the file's first track will play on channel 8, the
second on channel 1, the third track on channel 6, the fourth on channel 2, the fifth on channel
3, and the sixth track on channel 4.
Descending ranges are also permitted. For example, a multi-track audio file can be mapped to
sends 16–1. The first track of the audio file is routed to the 16th channel, the second track is
routed to the 15th channel, and so on.
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Playing Individual Tracks
You can extract tracks out of a multi-track file by making a null assignment of the unwanted
tracks. If 0 (zero) is used as a send value, the track will not be played.
For example, to play only the right-hand stream of a stereo file, specify the send as 0,1.
To send only the right channel of a stereo file to several different input channels, you could
specify 0,1,0,2,0,3. For the left channel only, it would be 1,0,2,0,3,0.
To do the normal round-robin assignment mapping with the right channel only, prepend a zero
to the sends. For example, 0,1–16 would cause channel 1 to play the right-hand stream, channel 2 to play the left-hand stream, channel 3 the right-hand stream, and so on.
Recalling Wild Tracks Subcues
When traversing through a cue list, CueStation will look ahead and preload Wild Tracks deck
subcues into a buffer. When the cue is recalled, the playback of audio files will begin as soon
as the subcue is recalled.
OPTIMIZING WILD TRACKS
This section describes how to get the best performance for Wild Tracks playback.
File Type and Format
Wild Tracks supports many different formats of audio files (see “Supported Audio File Types”
on page 216 for a complete list). All files must have a 96kHz sample rate.
Deck Recall Time
For a Wild Tracks deck subcue, the length time between when the subcue is recalled and
when the deck starts playing can be longer than desired, especially if there are many audio
files to be loaded. Therefore, it can be very beneficial to load the deck (without playback) at a
time before playback is required.
When recalling cues in a cue list, CueStation will look ahead at the next cue and automatically
preload Wild Tracks deck subcues. These subcues will not be visible in the Wild Tracks window; they are loaded in the background. This can reduce time-until-playback by up to 98%.
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It is possible also to manually control when decks are loaded, rather relying on the preloader
algorithm to perform preloading. This technique is useful in circumstances such as when a
loaded deck is going to be played by means of a remote cue recall. To manually control deck
loading, you will need two cues per Wild Tracks playback: one cue to load the deck, and
another cue to start playback.
1. Create a Wild Tracks deck subcue as you normally would, then change the On Recall
action from Play from Top to Stop. This will prevent the deck from playing after it is loaded.
2. Take note of which deck the subcue will use.
3. Add this subcue to a cue in the cue list, and position it before the cue where you want to
recall playback.
4. Arrange the CueStation windows so both the Wild Tracks and the Cue List windows are
visible, and select the cue where you would like to trigger playback.
5. Right-click and drag the Play button in the Wild Tracks window into the list of subcues of
the cue that is selected in the Cue List window. This creates a new Mixer Settings subcue,
which has the following information:
■
Wild Tracks unit number
■
Deck number
■
Status Play.
At this point the cue list will have a sequence of two cues to initiate Wild Tracks playback. The
first cue loads the files into a deck, and the second cue triggers playback. This can significantly reduce the trigger time when recalling the second cue. If the second cue is recalled
without first recalling the loading cue, playback will not work as desired. For instance, if there
are other files loaded into that deck, then those files will be played instead of the ones you
were expecting.
NOTE: Decks can also be controlled by key to control the playback of a preloaded deck. For more information, see “Control Decks by Key” on page 182
CAUTION: It is possible to trigger multiple decks on one Wild Tracks Unit, such
that more than 216 tracks are playing simultaneously. In this situation, audio
dropouts are highly likely to occur, and warning messages will be printed to the log.
When attempting to play more than 250 tracks, the most recently triggered deck(s) will
automatically Hold until manually reset.
!
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REGIONS, LOOPS, AND VAMPING
In Wild Tracks, you can create regions within an audio file. These regions allow you to loop a
section of a file infinitely or a certain number of times. You can also change the number of
remaining loops while the deck is playing to create a vamp-until-triggered effect.
Command-drag (Mac) or Ctrl-drag (Windows) in a green bar in the Wild Tracks timeline to
specify a section of the playback region. The specified section will be highlighted in blue.
Once the selection is made, Command-click and drag (Mac) or Ctrl-click and drag (Windows)
either end of the blue selection bar to adjust the area it covers. Right-click the green bar and
choose Select Entire Track as Track Region to make the blue selection area match the entire
length of the audio track.
Loops
Wild Tracks can loop an entire file, or a region within a file.
To loop an entire file:
1. Enter a number for the Loops value:
■
To loop the file a set number of times, enter a whole number greater than zero.
■
To loop the file infinitely, enter –1.
To create a loop for a region within a file:
1. Create a region by control-dragging the mouse over the part of the file. The region is highlighted in blue.
2. Right-click the region and choose Set Track Loop Region. This command will change the
Loop Start and Loop End times for the selected file to match the selected region. These
values can be edited manually to fine-tune the timing of the regions.
3. Enter a number for the Loops value:
■
To loop the region a set number of times, enter a whole number greater than zero.
■
To loop the region infinitely, enter –1.
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Vamping
Vamping is used to loop a region of an audio file continuously until it is triggered to continue,
at which point it will finish playing the current region and then continue on to the next region.
To accomplish this in Wild Tracks, use the following procedure:
1. Create a region as described in the previous section.
2. Set Loops to infinite by typing –1 or inf in the Loops column.
3. Capture the deck into a cue called Start Vamp. This will be the setup cue that starts the
vamping sequence. Note the deck number and the ID for the looping playback entry.
4. Open the Subcue Library and create a new Commands subcue with a Type of Wild Tracks
and a Command of Set Loop Counter.
5. For Target Deck:, enter the number of the deck used in the Wild Tracks subcue.
6. For Target Track:, enter the ID number of the Wild Tracks playback entry.
7. Create a new cue that includes the External Commands subcue, and name it End Vamp.
8. Add both cues to the Cue List.
The Start Vamp cue will begin Wild Tracks playback, and loop indefinitely until End Vamp is
recalled.
NOTE: If the End Vamp cue is recalled less than two seconds before the end of
the region, an extra loop will be played. This is because part of the next loop has
already been loaded into the Wild Tracks audio buffer. If the looped region is less than
two seconds, it could result in several extra loops after the loop counter is reset.
ADVANCED TECHNIQUES
This section lists some advanced techniques for using or controlling Wild Tracks.
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Mixer Settings Subcues
Mixer Settings subcues can be used to control transport actions on a deck or set of decks.
Mixer Settings subcues can be created for any control point in CueStation by right-clicking
the control and dragging it into the cue or subcue library. For example:
1. Open the Wild Tracks window and the Cue Library window, arrange them so both are visible.
2. In the Wild Tracks window, in Deck 1, right-click and drag the Stop button into the Cue
Library.
A new cue will be created, containing a Mixer Settings subcue.
If you click the subcue, you will see Wild Tracks 1 Deck 1 Status in the Control Points column. You can change the value of the deck. For example, you might enter a value of Deck
1–5 to stop a range of decks at the same time.
In the Value column, you will see the word Stop. This can be changed to Play, Pause, etc.
The Wait and Fade times are not valid for this type of control point, and the Enabled column shows whether or not the control point(s) are enabled.
Control Decks by Key
Mixer Settings subcues can only control decks if you know which decks will be in use. For
subcues assigned to Any Deck, the deck number depends on which other decks are in use.
However, it is still possible to automate control of these decks, using deck keys. There is a
Wild Tracks external subcue, Control Decks by Key, which allows you to control a set of Wild
Tracks Decks that share the same pre-assigned key. To use this feature:
1. Create a Wild Tracks Deck subcue with a sine wave entry, and set the Deck to * (Any
Deck).
2. For the Deck Key, type cue1.
3. In the Subcue Library window, go to Subcue > New Subcue > Commands, and name the
command Pause cue1 Decks.
4. In the area to the right, click Add Entry.
5. For the new subcue, change the Type to Wild Tracks and change the Command to Control
Decks by Key. For the subcue parameters:
■
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CUESTATION 5.5 USER GUIDE
■
Action: Pause.
■
Set Deck Position: remain at default.
■
Match Only These Decks: remain at default.
6. Recall the Wild Tracks Deck subcue, and check the Wild Tracks window to see that it is
playing (most likely on deck 32).
7. In the Subcue Library window, recall the Pause cue1 Decks subcue. The deck used by the
Wild Tracks subcue should now be paused.
You can even change the deck number in the subcue, and the Pause subcue will still work. If
you create more Wild Tracks Deck subcues with the same key, then the Pause subcue will
pause all of those decks, if they have been loaded when the subcue is recalled.
Using Wild Tracks Offline
CueStation allows you to edit Wild Tracks deck subcues while connected to VirtualD-Mitri.
1. Create a virtual drive (dmitriDisk file), which will contain information about the files and
directories on the hard drive you are using.
■
While connected to the D-Mitri system, choose Windows > Wild Tracks to open the Wild
Tracks window.
■
Click Drive Setup and choose the Drive Setup tab.
■
Highlight the drive you wish to use, then click Create Virtual Drive File.
■
When prompted, save this file in the same directory as VirtualD-Mitri.
2. Choose Network > Connect, then select Launch VirtualD-Mitri.
3. Choose Windows > Wild Tracks to open the Wild Tracks window.
4. Choose Display > Browse Virtual Drive, then navigate to the saved dmitriDisk file.
5. After opening the dmitriDisk file, a window opens, displaying the contents of the virtual
drive. You can drag files directly from the virtual drive into a Wild Tracks deck, draw envelopes, and capture Wild Tracks Deck subcues as if you were connected to an actual Wild
Tracks module.
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Batch Files
Wild Tracks supports the use of batch files, or scripts to be executed.
Here are the contents of an example batch file:
# This batch file appears in WTRX window like any other audio file
file=makehaste.wav
# Play this first
file=BirdOwl.wav
# Then this
file=Congo.wav loops=5
# then play this one in a loop 5 times
file=PalindromicMessage.aiff backwards
# Play the palindromic message backwards
source=tone pitch=440 length=1s
# generate 440Hz tone for 1 second
file=Romeo.wav loops=10 offset=1m length=2m
# play 1–minute segment, 10 times
file=another_batch_file.bat loops=3
# you can even do "subroutines"
file=yet_another_batch_file.bat random
# execute batch file in random order(!)
When the user specifies a batch file in the Wild Tracks window, it works like an audio file that
is the group of all the items specified in the batch script. The following is an example batch file
that spans across drives:
# This is a batch file that lets us span drives
file=/mnt/wtdrives/left/wtrxaudio/FirstPartOfReallyLongFile.wav
file=/mnt/wtdrives/right/wtrxaudio/SecondPartOfReallyLongFile.wav
If each filename is unique, it is not necessary to specify full file paths. Instead, the files can be
identified by name and extension only:
# Same as above, but works with any IDs
file=FirstPartOfReallyLongFile.wav
file=SecondPartOfReallyLongFile.wav
file=ThirdPartOfReallyLongFile.wav
Wildcard operators can also be used when specifying file names in batch files:
# Using wildcards
file=First*
file=Second*
file=Third*
TIP: Batch file scripts can also be typed directly into a Wild Tracks Deck Playback
entry without the need to create an external file. In this case, lines of script should
be separated by semicolons.
Changing the File Path with a Subcue
The file search path defines where Wild Tracks will look for its files.
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The default path is: /tmp/supportfiles:/mnt/wtdrives/*/wtrxaudio:~/wtrxaudio
There are four sections, each separated by a colon (:). Each section represents a search path.
A search path is a list of directories each separated by a slash (/).
Media Path Subcue
It is possible to create a subcue to change the File Search Path in the Wild Tracks window.
Create a new Commands subcue, change the Type to Wild Tracks, and set the Command to
Adjust Wild Tracks Media Path. There are several options for this command:
■
From the Path to Modify drop-down menu, choose either File Search Path or File Record
Path.
■
From the Action drop-down menu, choose Set Path Clauses, Add Path Clauses, or
Remove Path Clauses.
■
In the Path Clauses text box, type in the paths to be added or removed.
Understudy Voice Over
Since you can use the Commands subcue to change the File Search Path, it is possible to
have a setup cue that changes what version of a file will be used for a show without having to
create duplicate Wild Tracks subcues with different file versions.
For example, if you had offstage voice-overs that were delivered by a principal character, and
there were two understudies for that part, then you need to match the actor for the performance to the specific voice-over files. Since understudies often go in with short notice, it
would be good to automate the selection so that a change was not missed in a voice over
cue.
The simple way to do this is to put the voice over files for each actor in a separate directory.
These directories need to be located on the Wild Tracks drives at the same level as the /wtrxaudio directory and not inside the wtrxaudio directory where you would typically put files.
For example, audio pertaining to voiceover for one principal and two understudies would
require three directories, VO_Principal, VO_Understudy1, and VO_Understudy2.
So for the drive example in the preceding section on file search path, you would see a list of
directories for the drive that would include:
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■
wtrxaudio
■
VO_Principal
■
VO_Understudy1
■
VO_Understudy2
In each directory we put the voice over files for that actor. These might be named with the
voice over number and the actors name. Perhaps VO1-Principal.wav, VO1-Understudy1.wav,
and VO1-Understudy2.wav.
In order to make it possible to use the same Wild Tracks cue work for any of the actors we
need to duplicate each of the actors files and use the same name for the duplicate. For our
example we could name each of the duplicates VO1.wav. To do this, you can use the dragand-drop method of creating a Wild Tracks subcue file entry without having to edit the file
name.
For this process to work, add a file search path that includes the directory for the chosen
actor. If Understudy1 is going on, we add a file search path to the VO_Understudy1 directory.
This can be added as another entry to the path:
1. In the Adjust Wild Tracks Media Path command, set the Path to Modify to File Search Path.
2. Set the Action to Add Path Clauses.
3. For Path Clauses:, type /mnt/*/VO_Understudy1.
At the end of the system check-out cue list we could insert three cues that set the path for
each of the three actors: Principal, Understudy1, and Understudy2. When you know which
actor will be going on, the cue for that actor can be executed and the file search path will be
set to use that actor's files for all voice overs.
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CHAPTER 11: VRAS PROCESSING
VRAS processing is used in the Constellation electroacoustic architecture to electronically
alter the acoustics of a room. VRAS processing provides two algorithms: reverberation and
early reflections.
USER INTERFACE
VRAS module parameters are controlled from the VRAS window.
VRAS Window
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TIP: When a VRAS module is offline, a message denoting the module’s status
now appears at the top of the window.
Global Parameters
Global parameters pertain to the current VRAS display.
Parameter
Definition
Label
The VRAS window shows all current parameter values for each instance of VRAS configured in the system.
Type
Early Reflection, Reverberation (16 Channels), or Reverberation (32 Channels).
Reverberation Parameters (16 or 32 Channels)
Reverberation parameters change the channel assignment, time domain characteristics, and
frequency domain characteristics of the reverberation.
Reverberation Parameter
Definition
Input Matrix Type (16 channel only)
Specifies the input cross-coupling matrix. Selection of this matrix
controls the distribution of direct signals from the VRAS inputs to the
VRAS outputs. All matrix options maintain the same amount of total
power at all outputs. Therefore, while the option Inputs 1-16 can be
selected with only input 1 active, this will result in less power output
than if the Inputs Channel 1 option is selected. A full table of Input
options is provided later in this chapter.
Max Reverb Time
Adjusts the reverberation time. The Time/Frequency graph near the
top provides a visual model of the setting.
Unitary Level:
Adjusts the unitary property of the reverberator. True unity is set at
100.0, which is recommended for normal operation. As the unitary
level is reduced, the amplitude response of the reverberator will vary,
gain levels will decrease, and the system will behave more like a conventional electronic reverb unit. This can be useful if VRAS is used as
an in-line effects reverberator
# Diffusion Chans
This sets the number of channels to be used as Diffusion Channels.
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Reverberation Parameter
Definition
Delta Maximum
The higher the delta maximum, the more echo density. However, the
amount of direct energy in the reverberator increases proportionately
to delta maximum, so there is a trade off between echo density and
direct-to-reverberant levels.
The Delta Maximum control interacts with the Shape Factor control.
When you go outside of the normal operating envelope, the graph in
the VRAS Editor will not be drawn.
Shape Factor
Shape factor is the ratio of the longest to the shortest delay. Low
shape factors produce similar internal delay times across channels,
while high settings produce a wide spread of delay times. The shape
factor also defines how quickly the direct levels drop as the channel
numbers rise. A high shape factor will give you a rapid drop in loop
gains and direct levels.
High Freq. Damping Frequency
This is the corner frequency for the reverberator damping. You will
see the results of the setting on the Time/Frequency graph. You can
simultaneously adjust high frequency damping frequency and
amount by clicking and dragging directly in the Time/Frequency
graph.
High Freq. Damping Percentage
This is the amount of damping applied to the reverberator at high frequencies (above the damping frequency). You will see the results of
the setting on the Time/Frequency graph.
Mid/Low Freq. Damping Type
VRAS has a second damping filter that can be configured as a mid or
low band damping. This control sets the type of the filter. Set to Low
if you need low frequency damping to compensate for an excessively
boomy room.
Mid/Low Freq. Damping Frequency
This is the corner frequency for the reverberator damping. You will
see the results of the setting on the Time/Frequency graph.
Mid/Low Freq. Damping Percentage
This is the amount of damping applied to the reverberator at high frequencies (above the damping frequency). You will see the results of
the setting on the Time/Frequency graph.
Channel Assignments
This specifies up to 16 inputs to be processed by VRAS Reverberation. For each channel row, there is also a channel label, a mute button, channel attenuation value, and two VGroup assignment boxes.
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The combination of reverb time, delta maximum, and shape factor affect how the hardware
memory is allocated and used. Some combinations can exceed the memory capacity of the
VRAS DSP, truncating some of the reverberator delays and creating distinct echoes. D-Mitri
will warn you with messages in the Log window when you enter values that exceed its memory capacity.
TIP: If you have already calculated the desired delays and attenuations, you can
copy and paste in data from the spreadsheet.
Early Reflections Parameters
These parameters change the channel assignment, time domain characteristics, and frequency domain characteristics of the early reflections.
Parameter
Definition
ER Zone Config
Selects the configuration for early reflections zones.
Input Matrix
Specifies the input cross-coupling matrix. This matrix controls the distribution
of direct signals from the VRAS inputs to the VRAS outputs. A full table of Input
options is provided later in this chapter.
Output Matrix
Specifies the output cross-coupling matrix. Selection of this matrix controls the
distribution of user-specified delays to VRAS outputs. Two or four independent
ER sub-zones can be specified using appropriate Input and Output Matrix
options. For instance, if set to Outputs16 then all 16 delays will be matrixed to
all 16 outputs. If set to Outputs 8/8, the first eight delays will be matrixed to the
first eight outputs, and the last eight delays to the last eight outputs.
Cutoff Frequency
Adjusts the cutoff frequency of the included low pass filter applied to VRAS
inputs.
High Frequency Attenuation
Adjusts the amount of attenuation of the high frequencies in the low pass filter.
Channel Assignments
Specifies up to 16 inputs to be processed by VRAS Early Reflections. For each
channel row, there is also a channel label, a mute button, channel attenuation
value, and two VGroup assignment boxes.
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Early Reflection Delays and Attenuation
For each early reflection signal, you can configure the delay and attenuation, either by typing
in different values, or by dragging the points on the graph.
Parameter
Definition
Min
Minimum (initial) delay time.
Max
Maximum (final) delay time.
Spread
Controls the spread of the early reflections between the minimum and maximum delay times.
Atten
Controls the range of attenuation levels for each early reflection signal.
VRAS SUBCUES
There are two VRAS subcue types: VRAS Inputs, which captures channel assignments and
attenuations, and VRAS Processing, which captures ER and reverberation settings.
Capturing VRAS Subcues
Like other subcues in the system, VRAS parameters are captured using the Capture window.
To capture a VRAS Processing subcue:
1. In the VRAS window, change the parameters to the desired values.
2. Channel select the VRAS unit(s) you have configured.
3. Press the F4 key to open the Capture window, and enter a name for the cue.
4. Deselect all subcue types, and then click in the checkbox next to VRAS Processing.
5. Click the Capture New button at the bottom of the window.
6. When using VRAS Reverberation, you can create a preset that turns VRAS off. One way of
doing this is to create a cue that includes a System Level subcue that sets the System
Level to -inf dB. However, the reverberant tail will be abruptly cut off. A better way of doing
this is to set the attenuation of the inputs to VRAS to -inf dB. This way the existing tail will
decay naturally when the cue is recalled and the effect will not be so abrupt. For this effect,
you will need to capture a VRAS Inputs subcue:
7. In the VRAS window, set the input channel attenuations to -inf.
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8. Press the F4 key to open the Capture window, and type in a name for the cue (such as
VRAS Off).
9. Deselect all subcue types, and then click in the checkbox next to VRAS Inputs.
10. Click the Capture New button at the bottom of the window.
If you create a cue that sets all attenuations to -inf, create another cue that restores the attenuations (a VRAS On cue). This cue can be created using the same method described above,
except that you would set each attenuation to the appropriate level before capturing the cue.
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CueStation uses several application-specific files to store project data, layouts, and configurations. In addition to saving these files to the computer's hard drive, you can also save projects to flash within a D-Mitri module, with the option to load them automatically when the
D-Mitri module boots. CueStation can also save default versions of project and layout files.
SAVING FILES
CueStation layout files and projects can be saved locally, and configuration files can be saved
to the D-Mitri modules themselves for quick recall. CueStation also creates its own log files,
which can be saved locally.
Saving Files Locally
Project files, layout files, and mixer configuration files can be saved locally to the computer's
hard drive. The Projects menu has several different options for saving the current project.
■
Save Project is available if you have not yet saved a new project. Selecting this option will
bring up a dialog box where you type a name for the project and decide where to save it.
■
Save Project to [project name] option is available if you have opened an existing project
file. This option will automatically overwrite that project file with any changes you have
made since the last save.
■
The Save Project As command saves the project under a different file name, in a different
location, or both.
Backup Project
The Backup Project command saves a copy of the current project as a backup. Backup projects are saved to CueStation_Settings/D-Mitri_Backups, with an automatically generated
name that includes a time and date stamp, in this format: Backup_year_month_day_hour_min_sec.dmitriProject.
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Since saving a project as a backup does not prompt you for a location and file name to save
to, backup project files can be used to take a quick snapshot of the state of the system
throughout a programming session, which can later be recalled if accidental changes are
made that cannot be easily undone.
Saving Projects to Flash
Projects can be saved to the flash memory in the D-Mitri. These projects can be retrieved
automatically on startup by configuring the Auto Start settings upon saving.
To save a project to flash, choose Projects Save Project To Flash. The Save Project to D-Mitri
Flash Memory window contains the following options.
Option
Definition
On Power Up
There are two selections: Auto Start Project in Flash, or Do Not Autostart.
Startup Delay
The startup delay is the time after bootup is complete, but before the startup cue
is recalled. The default startup delay is 30 seconds.
Recall Cue ID on Startup
If desired, enter the name of the cue you want to recall at startup.
Set Cue List ID on Startup
If desired, enter the name of the cue list you want to recall at startup.
Completion Message
This message is printed to the log when the Auto Start is triggered. If desired,
you can enter a different message here.
AutoStart
This checkbox is enabled when you enter a valid cue list in the corresponding
value box. When selected, the first cue in the cue list will be played on startup,
along with any other cues or AutoFollow settings.
A message in the log window will indicate when the operation is complete.
Another benefit of saving a project to flash is that it can be opened by any client on any computer that is connected to the D-Mitri, without needing to have the project already saved on a
local hard drive.
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The Save Project As
At the top of the window is a drop-down box, with the name of the current directory. The area
directly to the right contains buttons for the following commands.
Button
Function
Back
Returns to the previous location.
Forward
Moves to the next location.
Up
Goes to a higher level directory.
New Folder
Creates new folder within the current directory.
Icon View
Provides a view for viewing files.
Details View
Provides a view to see details for each file in the list.
Next, there is a list of the files in the current directory, followed by a File name: text entry box.
Enter the name of the file you would like to save to, and then click Save to close the dialog
and save the file.
Shortcut Icons
In the left sidebar is a set of directory shortcuts. The default icons point to Computer, User
Home, User Desktop, and CueStation_Settings. (For Mac OS users, there's also a Volumes
icon.) This gives you quick access to common save areas.
Add shortcuts to the sidebar by dragging the desired folder in from another window. To delete
a shortcut, right-click and choose Remove. This removes instant access only to the folder, not
to the folder and the data inside.
Recent Files
In the lower half of the Save Project dialog box, there is a list of the five most recently
accessed files. These files also have hotkeys associated with them, for easier access. In order
to use the hotkeys, hold down the Command key and then type the number of the file twice.
The selected file will then be overwritten.
If you want to remove a file from the list, click the gray Eject icon to the right of the file name.
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Filter Project Checkbox
At the bottom of the Save Project dialog window is the Filter Project checkbox. When this
checkbox is checked, the Filter Project features appear as a pane inside the Save Project dialog. These filtering features give you the option of choosing which parts of the automation
data to save.
NOTE: When you select an item in the Filter Project pane for action, any other
project items the selected item references also receive that action. For example,
if you choose to load Cue 5, then any subcues in Cue 5 are also loaded, even if those
subcues are not explicitly selected in the Subcues tab of the encompassing Save Project dialog window.
OPENING FILES
The options for opening files in CueStation are similar to those for saving files. A project file is
divided into four categories of information: automation data, configuration settings, layout
information, and port settings. When you open a project, any project information currently in
the server will be cleared and replaced by the new project.
The Open Project Dialog Box
In the top left corner, there are controls for navigating to different directories, and a list of files
in the current directory. To open a project, select the project you want and click the Open button.
The Recent Files list works as described in “Saving Files” on page 193.
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Open Project Options
Below the list of recently used files are six check boxes to toggle different options for opening
projects.
Option
Definition
Load Project
Select whether to load the project database. Uncheck this box if to only load
the configuration or the layout.
Send Configuration
Toggles whether the configuration stored in the project is sent to the D-Mitri
modules. If the box is unchecked, the configuration will be opened and visible
in the Mixer Configuration window but it will not be sent.
Filter Project
Specifies which parts of the automation data CueStation will load. See “Custom Project Filter” on page 198 for more information.
Load Mixer Settings
Specifies whether CueStation will load the project’s mixer settings. If this box is
checked, the window will load all of the mixer settings that were in place when
the file was last saved. If Load Mixer Settings and Send Configuration checkboxes are unchecked, the current mixer settings will remain untouched when
the new file opens.
Send Configuration
When Send Configuration is checked, but Load Mixer Settings is unchecked,
all control points will be reset to their default values.
Verify Wild Tracks Subcues
Verifies whether Wild Tracks Deck subcues contained in the project can locate
all associated files on the Wild Tracks drive(s). If a file is not found, an error
message will be printed to the log.
Load Layout
Specifies whether CueStation will load the layout saved with the project.
Uncheck this box to keep the current layout.
Load Connection Settings
If Load Connection Settings is checked, opened windows will be connected to
the server to which they were connected when the layout was saved. If Load
Connection Settings is left unchecked, opened windows will be connected to
the same server as the current window.
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Custom Project Filter
These options can be accessed in the Open Project dialog using the Filter Project checkbox. If
checked, the Filter Project dialog opens and gives you the option of choosing which parts of
the automation data you would like to import. For instance, you could choose to not load in
Key Mappings if you would rather use ones you have already created. Or, if you only wanted
to load in one cue list, you would deselect all of the cues except for the one you want to load
(see “Filter Project Checkbox” on page 196).
MERGING PROJECTS
In CueStation, automation data can be merged from one project into another. This provides a
method to import cue lists, cues, subcues, or other automation data in a selective way.
Merged elements also include all referenced elements. For example, importing a cue list will
also cause the cues in the cue list to be imported, as well as the contained subcues, and so
on.
The Merge Project dialog box has all of the same controls as “The Open Project Dialog Box”
on page 196.
The difference between opening a project and merging a project is that during a project
merge, the current project data is not cleared from the server.
Effects of a Merge Project Operation
When you start with Project A and choose to merge data from Project B, the existing data in
Project A remains unaffected. However, the merged items from Project B are affected in the
following ways:
■
Items with conflicting ID numbers are assigned a new ID number. For example, when
merging cue ID 0 into a project that already contains cue IDs 0 and 1, cues in the destination project will be re-assigned to the next available IDs (for example IDs 2 and 3).
■
Reference IDs are updated so that Items containing references to other imported items will
reflect the new ID numbers.
■
Changes to ID numbers and references will be reported in the log.
NOTE: Layout and connection settings of a project cannot be merged.
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CueStation can be customized to improve workflow by using saved layouts, keyboard shortcuts, project notes and reports, and communication between clients.
PAGE GROUP CONTROLS
CueStation windows with the Display > Show Page Group Controls option can be grouped so
that the displayed pages synchronize.
The following table describes the behavior of Page Group Controls.
Component
Function
Disabled
Window does not affect any other members of the Page Group. Window does not follow anyother members of the Page Group.
Mirror
Window display affects all Group Mirrors and Group Slaves in the
Page Group. Window display follows Group Masters and all other
Group Mirrors in the Page Group.
Slave
Window display follows Group Masters and all other Group Mirrors
in the Page Group.
Master
Window display affects all Group Mirrors and Group Slaves in the
Page Group.
Page Group Status
Page Group ID
Changes which Page Group the current window is assigned. Ranges from 1–128.
has offsets
Offsets the display relative to other members of the Page Group. The first field is
horizontal offset, the second is vertical. Offsets can be positive (right/down) or negative (left/up).
NOTE: Each Page Group can have multiple Group Masters. Each Group Master
will affect all Group Slaves, but other Group Masters will remain unaffected.
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LAYOUTS
Custom layouts are stored arrangements of windows on the screen. Saving several layouts
with different purposes offers the convenience of switching between layouts quickly. For
example, a custom layout can be saved for a performance-specific workflow that displays the
Transport, Log, System Status, and Meter windows. A second layout can be saved that gives
the user quick access to the Cue List, Cue Library, and Subcue Library windows. A custom
hotkey or utility button can be set up to quickly switch between these two layouts.
CueStation layouts are saved as dmitriLayout files. You can also save a layout as a default,
which can be opened automatically whenever CueStation is launched.
In addition to window selection and placement, a layout file also includes client connection
information. For example, if the client is connected to a specific server when you save a layout
as default, then whenever you launch CueStation, it will automatically try to connect to that
server.
To save a custom layout:
1. Arrange the CueStation windows into the desired positions.
2. Choose Layout > Save Layout As.
3. Type a name for the layout, and save it to the client computer’s hard drive.
To save a default layout:
1. Choose Layout > Save Layout As Default.
2. Enable the Layout > Use Default Layout on Launch option to have CueStation restore the
default layout automatically upon launch.
Mapping Layouts to Hotkeys
The Open Layout subcue makes it possible to open a layout using a custom key mapping (see
“Key Mappings Window” on page 204).
To assign a saved layout to a hotkey combination:
1. Choose Windows > Support Files window.
2. Drag a dmitriLayout file into the window to add it to the list of support files. The layout file
must be included in the support files in order for it to be accessed by CueStation.
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3. Choose Windows > Subcue Library window and create a new Commands subcue, with a
Type of CueStation Control and a Command of Open Layout. Take note of the Subcue ID.
4. Type the name of the layout file in the Layout File Name field. If you would like to simulate
the Open More Layout command, uncheck the box next to Close Existing Windows First:.
5. Open the Key Mappings window and choose Mappings > New Mapping to create a new
key mapping.
Use the list in Appendix B, “CueStation Keyboard Shortcuts” to find a key mapping that is
not already used by CueStation.
6. Set the Action to Recall, and the Target Type to Subcue.
7. For the Target ID, enter the ID number of the Open Layout subcue you created previously.
You have now created a key mapping that opens a saved layout. You can create additional
key mappings that open different layouts using the same procedure.
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CUSTOM UTILITY BUTTONS
User-customizable utility buttons can be added to the bottom of any CueStation window.
These buttons are defined with the Custom Utility Button Properties Editor. Layout > Add Custom Utility Button opens the Custom Utility Button Property Editor.
Custom Utility Button Properties Editor Window
You can set custom buttons to execute cue or subcue recalls, control points, cue/subcue
updates, or text commands. The buttons function by recognizing click and release events,
allowing you to assign actions to these events. The actions are: Do Nothing, Do Text Command, Recall, Update, and Set Value.
To add a utility button to a CueStation window:
1. Choose Layout > Add Custom Utility Button.
2. Type a new label for the button. Optionally, in the next text box, enter a different name to
be displayed when the button is active.
3. Optionally, select Latching Mode to create a button that stays depressed with the first click
and releases with a second click. This behavior is visual only.
4. Choose an On Click: action: Do Nothing, Recall, Update, or Set Value.
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5. If you chose Recall or Update, select the cue or subcue to be affected. If you chose Set
Value, enter the control point's target value.
6. Optionally, choose an On Release action, which will be triggered when the button is
released.
7. If you wish, alter the color of the button for its normal and active modes. For example, if
the button toggles a channel mute, you might wish to make the Active Color red. You can
select from the basic, premade colors to the left, or create a custom color using the RGB
sliders.
8. If you chose Set Value above, type the name of the control point in the Control Address
text box, and then enter the desired values in the On Click and Release Value fields.
The Active When: parameters control when the button appears active. If it is set to Mouse
Button is Down, the button will only be active momentarily. This setting is useful for cue
recalls and other momentary actions.
9. Alternatively, if you want the state of the button to reflect the state of a control point,
change Active When: to either Value is or Value is not, and enter a value. Or, set Active
When: to Never or Always if you don't want the active state to change. See the next section, “Utility Button Example” on page 203, for an example on how this function is used.
10. Optionally, add a Button Key String. Custom utility buttons can be controlled by subcues,
and the button key string allows each button to be changed separately.
11. Click Accept to add the button to the bottom of the window.
Utility Button Example
In this example, there are three cue lists: one Speaker Check cue list and two Show Cue lists.
The following procedure will create custom utility buttons that switch between the cue lists
when clicked.
1. Open the Transport window.
2. Choose Layout > Add Custom Utility Button to open the Utility Button dialog.
3. Change the Label: from New Button to Speaker Check.
4. Choose On Click > Set Value.
5. Enter the ID of the Speaker Check cue list into the On Click Value field.
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6. For the Control Address, type Automation 1 Active CueList ID.
7. In the next line, select Value is, Equal To, and type the ID of the Speaker Check cue list
again.
8. Click Accept to create the first button. For the other two buttons, these options will mostly
stay the same, except:
■
The button label should reflect the name of the cue list.
■
The Active When: and Equal To value will be the ID of the Cue List.
When complete, three buttons are displayed at the bottom of the Transport window. Click
them to switch between active cue lists.
To edit or delete a custom button, right-click the button and select Edit or Delete.
KEY MAPPINGS WINDOW
The Key Mappings window provides an area to bind keys to cue and subcue recalls and
updates.
Key Mappings Window
TIP: Client Control External Command subcues can be used to bring any window
to the front, complete with a specification for the window to display. By using Key
Mappings in conjunction with this subcue, you can create a set of custom key mappings to show you particular sets of windows.
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To choose from available Key and Modifier settings, right-click each field. Multiple simultaneous mappings can be configured for each combination of Modifiers and Keys. Each mapping
is represented by a row in the window. Each row consists of several fields.
Field
Description
ID
A unique index for the mapping.
Modifiers
Specifies which combination of modifiers are assigned to this mapping. Right-click
this field to display the available set of modifiers in a context menu.
Key
Specifies which keystroke is pressed in conjunction with the modifiers to trigger the
mapping’s action. Right-click this field to display the available set of keys in a context menu.
Action
Specifies whether to Recall or Update the specified target cue or subcue.
Target Type
Specifies whether Target ID refers to a cue or subcue.
Target ID
Specifies the ID of the target cue or subcue.
Client Name(s)
Either the IP address of a particular computer running CueStation, or any computer
running CueStation detected on the network.
Comment
An editable text field for a comment.
NOTE: A complete list of the default key mappings can be found in Appendix B,
“CueStation Keyboard Shortcuts.”
Mappings Menu
The Mappings menu contains commands for mapping management.
Command
Function
New Mapping
Create new mapping.
Duplicate Mapping
Duplicate the selected mapping.
Delete Mapping
Delete the selected mapping.
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PROJECT NOTES AND REPORTS
The Project Notes window provides an area to type free-form unformatted text. This text is
stored within the project file. Project Notes are a convenient place to store information about
the configuration of the system, the purpose of certain cues, or other useful information
related to the project.
Notes Menu
The Notes menu contains commands for managing project notes.
Command
Function
Clear Notes
Remove all notes.
Save Notes As
Save the notes to a new text file.
Save Notes
Save the notes over the previously saved version.
Generate Report
Projects > Generate Project Report will create a text file that includes information about the
project, including project notes, mixer configuration, cue lists, cues, subcues, and control
points. This report is useful for archival purposes, or for transforming the information into a different format, such as a spreadsheet or database.
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CHAT AND PAGING
The Chat window provides a means for communication between members of the cue-programming team.
Chat Window
The window provides three panels of information:
■
Chat Log, containing the chat messages with a timestamp and the sender’s name.
■
Member Log, listing the Name and Status for each member of the team.
■
Message Entry area, providing Name:, Status:, and Enter Chat Text: boxes.
■
Page Selected Users button, for paging members of the team.
To send a message to the team, type your name in the (smaller) Name: box and your message
in the Enter Chat Text: box. Press Enter and your message will be displayed in the Chat Log
panel of your team members’ Chat windows.
To page another user, click the Page Selected Users button, and select the name of the person you wish to page. On the paged person's screen, all CueStation windows will flash cyan
once, and the telephone icon will flash continuously until the page is answered.
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Chat Menu
The Chat menu contains commands for managing the displayed chat log.
Command
Function
Clear Chat
Clears the chat log.
Save Chat As
Saves the chat log to a new text file.
Save Chat
Saves the chat log over the previously saved version.
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CHAPTER 14: SETTING SYSTEM ACCESS POLICIES
CueStation provides an Access Policies window to allow you to set up different levels of
access permissions or restrictions.
Access Policies Window
By defining access polices, you can prevent accidental or unauthorized changes to the system, while allowing full unrestricted access in the default state. You can use the window to
define access policies at any time; it is not necessary to configure access policies before
using the software or hardware.
CREATING ACCESS POLICIES
Access policies can be configured to restrict or allow access to everything from changing
control points to changing system configuration. This example demonstrates how to restrict
unauthorized access to certain control points.
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To create an Access policy:
1. Open the Access Policies window.
2. Choose Access Policies > New Access Policy. Change the name to Input 1 Restricted.
3. Double-click the Password column and add a password.
4. Right-click the Type column and choose Opt-Out. The background of the access policy
changes to yellow, indicating that the policy is invoked. No restrictions are yet in place,
because nothing in this access policy has been selected.
5. Click twice in the checkbox for Set Control Points. The red X indicates that the policy
restricts this action.
6. In the box to the right of Set Control Points, type Input 1 Level. Access to Input 1 Level is
now restricted. Choose Windows > Inputs and verify that the fader for Input 1 is greyed
out.
7. Choose Access Policies > New Access Policy. Change the name to Input 1 Allowed.
8. Double click the Password column and type a password.
9. Right-click the Priority column and select 1.00. This Input 1 Allowed access policy now
has priority over the Input 1 Restricted access policy.
10. Click the checkbox for Set Control Points. The green check indicates that this action is
allowed.
11. Type Input 1 Level in the box to the right.
12. Choose Access Policies > Reset All Access Policies to clears the cookies for the passwords you entered, so that anyone using the CueStation client must re-enter the passwords to gain access to restricted items.
Input 1 is now restricted for all CueStation clients, and this setting is saved with the project,
since it is applied by default.
To regain access to Input 1:
1. Choose Windows > Access Policies to open the Access Policies window, then select Input
1 Allowed.
2. Choose Access Policies > Invoke Selected Access Policies. A dialog box appears,
prompting for the password. Choose from the following options:
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■
Retain password until I manually reset it
■
Use password for this session only.
3. Enter the password and click login options. The background of Input 1 Allowed turns green
to show that it is invoked, but not applied by default.
NOTE: Access Policies that are not applied by default are applied on a per-client
basis. For example, after invoking the Input 1 Allowed policy, the client is now
permitted to change the level of Input 1, but the permissions of other clients are not
affected.
SECURING THE SYSTEM
Access Policies in CueStation do not provide complete security from malicious attacks. However, there are a few things you can do to prevent other users from accidentally gaining
access to restricted items:
■
Create an access policy that has Edit Access Policies restricted. Without this invoked, it is
possible to delete access policies, change the priority, or change the password.
■
If Set Control Points is restricted, control points cannot be changed by users, but they can
be changed by recalled cues and subcues. For instance, if you have an access policy that
restricts access to Input 1, other users cannot change Input 1 directly, but it would be possible to create a subcue that changes the fader level, or bus assigns, etc. Therefore, the
access policy restricting control points should also restrict Edit Subcues. With this
restricted, it is possible to capture new cues using the capture window, but editing the
subcues is disabled.
■
If there is more than one person using the same CueStation client, make sure to use the
Reset All Access Policies function when you have finished editing to reset the cookies for
the password(s) you entered.
RECOVERING LOST PASSWORDS
If you are the administrator of the D-Mitri system and have lost the password(s) to your access
policies, or have been locked out of your system with access policies, there is a password
recovery feature available. To regain access to your system:
1. Choose Windows > Access Policies to open the Access Policies window.
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2. Choose Access Policies > Recover Lost Password. A dialog box appears with instructions
and an access code.
3. Write down the access code, or click Copy Access Code to Clipboard to prepare for pasting it into an email.
4. Contact Meyer Sound Technical Support and provide the access code. A new password is
provided to override the access policies in place and regain access to your system.
NOTE: The access code and recovery password are valid only until the system is
rebooted, and is randomly generated on startup. This prevents users who know
one recovery password from accessing other systems.
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APPENDIX A: D-MITRI CLIENT/SERVER SYSTEM
CLIENT/SERVER SYSTEMS
A Client/Server system is one that uses a central program to keep track of data and which is
designed to pass the data to other programs when requested.
The program that manages the data is called a server. The programs sending and receiving
data are called clients. A server can support requests from many simultaneous clients, which
all accurately reflect the state of the system. For example, multiple CueStation clients can
connect to and control D-Mitri simultaneously.
In the D-Mitri, there are Server programs that manage the automation, the mixer settings, Wild
Tracks, CueConsole and the user interface. These programs start automatically. The program
CueStation is a client.
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APPENDIX A: D-MITRI CLIENT/SERVER SYSTEM
D-Mitri Client/Server Connections
There are many advantages to a Client Server system for a sound mixing and automation system. Redundant control is possible. Since there can be more than one simultaneous client, a
backup computer can be connected and running at the same time without the need for any
special software or hardware. There is a natural ease of connection between all elements in
the system. Since all parts of the system communicate with the server, a well designed system makes it easy to connect everything. Multiple users can work on the same system at the
same time and everyone sees what controls are being changed as the changes are made.
Backup of the automation data is simple since each connected client can save the project file
locally. Accurate indication of control settings is guaranteed for all users since all clients are
connected to the same server that is responsible for the control of the audio.
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An additional benefit of the D-Mitri Client/Server system is that client interaction is distributed
across multiple processor modules, which not only spreads the processing load but also
enables any processor to take over for another, should a disconnection or hardware fault
occur during use. During such a failover, connected clients can resume without serious interruption.
IPv4 Addresses
Each device on an internet must have a unique address. These are used to pass messages
from one device to another and are interpreted in order much like a mailing address.CueStation recognizes both the emerging IPv6 address standard, and the older IPv4 address standard. An IPv4 address is shown as four sets of numbers in the range of 0 to 255.
Subnet Mask and Gateway
The Subnet Mask is used to set the boundaries for the local address. Any messages for
addresses outside of the local boundary are sent to the gateway. Messages pass to the local
area through holes in the mask (zeros). The subnet mask is shown in four sets of decimal
numbers in the range 0–255, the same way as IP addresses are shown.
NETWORK PORTS
Network ports enable two or more networked devices to establish a line of communication.
Both CueStation and the server processes rely on several network ports for communication. If
the computer, network switch, or router use a firewall, they might need to be reconfigured to
enable the following ports.
Port
System Use
TCP 22
SSH and firmware updates, used for Module Commissioning.
TCP 23
SSH and firmware updates, used for Module Commissioning.
TCP 3020
Used for network-mounting a Wild Tracks drive via Samba/CIFS (e.g. Command+K on a Mac
desktop, log in as a guest).
UDP 3020
Used for network-mounting a Wild Tracks drive via Samba/CIFS (e.g. Command+K on a Mac
desktop, log in as a guest).
UDP 5353
mDNS discovery port, used for Module Commissioning.
215
APPENDIX A: D-MITRI CLIENT/SERVER SYSTEM
Port
System Use
UDP 8080
Web server port.
UDP 16000
Allows CueStation clients outside the firewall to discover D-Mitri boxes that are inside the firewall.
UDP 17000
Used by CueStation clients to ping dcued/dmixerd for D-Mitri status.
TCP 18000
CueStation uses this port as a system control/debug port.
TCP 18001
dcued process port, used to adjust the current project.
TCP 18002
dmixerd process port, used to adjust the current state of the mixing system.
TCP 18004
dwtrxd process port, used by the Setup Drives dialog in the Wild Track window.
TCP 18033
OSC clients send OSC messages to the system on this port.
UDP 18033
OSC clients send OSC messages to the system on this port.
TCP 18034
Text-command port, used to send text commands to the system.
UDP 18034
Text-command port, used to send text commands to the system.
TCP 18037
wsndfiled process port, used for Wild Tracks drive contents and audio preview functions.
TCP 28000
Allows remote dmitriproxy clients to connect to D-Mitri's local dmitriproxy client.
SUPPORTED AUDIO FILE TYPES
The following file formats and encodings are supported for use with both AudioMove and Wild
Tracks.
Microsoft WAV
■
Unsigned 8 bit PCM
■
Signed 16 bit PCM
■
Signed 24 bit PCM
■
Signed 32 bit PCM
■
32 bit float
■
64 bit double precision
■
u-law encoding
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CUESTATION 5.5 USER GUIDE
■
A-law encoding
■
IMA ADPCM
■
MS ADPCM
■
GSM 6.10
■
G721 ADPCM 32kbps
SGI/Apple AIFF/AIFC
■
Unsigned 8 bit PCM
■
Signed 8 bit PCM
■
Signed 16 bit PCM
■
Signed 24 bit PCM
■
Signed 32 bit PCM
■
32 bit float
■
64 bit double precision
■
u-law encoding
■
A-law encoding
■
GSM 6.10
■
12 bit DWVW
■
16 bit DWVW
■
24 bit DWVW
Sun/DEC/NeXT AU/SND
■
Signed 8 bit PCM
■
Signed 16 bit PCM
■
Signed 24 bit PCM
■
Signed 32 bit PCM
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APPENDIX A: D-MITRI CLIENT/SERVER SYSTEM
■
32 bit float
■
64 bit double precision
■
u-law encoding
■
A-law encoding
■
G721 ADPCM 32kbps
■
G723 ADPCM 24kbps
■
G723 ADPCM 40kbps
Headerless RAW
■
Unsigned 8 bit PCM
■
Signed 8 bit PCM
■
Signed 16 bit PCM
■
Signed 24 bit PCM
■
Signed 32 bit PCM
■
32 bit float
■
64 bit double precision
■
u-law encoding
■
A-law encoding
■
GSM 6.10
■
12 bit DWVW
■
16 bit DWVW
■
24 bit DWVW
■
Ok Dialogic ADPCM
Paris Audio File PAF
■
218
Signed 8 bit PCM
CUESTATION 5.5 USER GUIDE
■
Signed 16 bit PCM
■
Signed 24 bit PCM
Commodore Amiga IFF/SVX
■
Signed 8 bit PCM
■
Signed 16 bit PCM
Sphere Nist WAV
■
Signed 8 bit PCM
■
Signed 16 bit PCM
■
Signed 24 bit PCM
■
Signed 32 bit PCM
■
u-law encoding
■
A-law encoding
IRCAM SF
■
Signed 16 bit PCM
■
Signed 24 bit PCM
■
Signed 32 bit PCM
■
32 bit float
■
u-law encoding
■
A-law encoding
Creative VOC
■
Unsigned 8 bit PCM
■
Signed 16 bit PCM
219
APPENDIX A: D-MITRI CLIENT/SERVER SYSTEM
■
u-law encoding
■
A-law encoding
SoundForge W64
■
Unsigned 8 bit PCM
■
Signed 16 bit PCM
■
Signed 24 bit PCM
■
Signed 32 bit PCM
■
32 bit float
■
64 bit double precision
■
u-law encoding
■
A-law encoding
■
IMA ADPCM
■
MS ADPCM
■
GSM 6.10
GNU Octave 2.0 MATLAB 4.2
■
Signed 16 bit PCM
■
Signed 32 bit PCM
■
32 bit float
■
64 bit double precision
GNU Octave 2.1 MATLAB 5.0
■
Unsigned 8 bit PCM
■
Signed 16 bit PCM
■
Signed 32 bit PCM
220
CUESTATION 5.5 USER GUIDE
■
32 bit float
■
64 bit double precision
Portable Voice Format PVF
■
Signed 8 bit PCM
■
Signed 16 bit PCM
■
Signed 32 bit PCM
Fasttracker2
■
8 bit DPCM
■
16 bit DPCM
HMM Tool Kit HTK
■
Signed 16 bit PCM
Apple CAF
■
Signed 8 bit PCM
■
Signed 16 bit PCM
■
Signed 24 bit PCM
■
Signed 32 bit PCM
■
32 bit float
■
64 bit double precision
■
u-law encoding
■
A-law encoding
221
APPENDIX A: D-MITRI CLIENT/SERVER SYSTEM
222
APPENDIX B: CUESTATION KEYBOARD SHORTCUTS
This appendix lists the default keyboard shortcut commands used by CueStation. The hotkey
combinations listed are for both the Mac and Windows versions of CueStation.
ALL WINDOWS
Function
Shortcut (Mac)
Shortcut (Windows)
Open Capture Window (Update Subcue Mode)
F1
F1
Open Capture Window (Capture Differences Mode)
F2
F2
Open Capture Window (Capture New Mode)
F3
F3
Open Capture Window (Capture New into Cue List Mode)
F4
F4
Switch to Previous Window
F11
F11
Switch to Next Window
F12
F12‘
Edit > Select All
Command+A
Ctrl+A
Projects > Backup Project
Command+B
Ctrl+B
Edit > Copy
Command+C
Ctrl+C
Edit > Duplicate
Command+D
Ctrl+D
Edit > Enable
Command+E
Ctrl+E
Edit > Select (Find)
Command+F
Ctrl+F
Windows > Hide All Windows
Command+H
Ctrl+H
Windows > Maximize Window
Command+M
Ctrl+M
Edit > New
Command+N
Ctrl+N
Projects > Open
Command+O
Ctrl+O
Mixer > Pause Fades
Command+P
Ctrl+P
CueStation Quit (Mac OS X), Network Quit (Windows)
Command+Q
Ctrl+Q
Projects > Save
Command+S
Ctrl+S
Edit > Unlock Items
Command+U
Ctrl+U
Edit > Paste
Command+V
Ctrl+V
223
APPENDIX B: CUESTATION KEYBOARD SHORTCUTS
Function
Shortcut (Mac)
Shortcut (Windows)
Windows > Close Window
Command+W
Ctrl+W
Edit > Cut
Command+X
Ctrl+X
Edit > Redo
Command+Y
Ctrl+Y
Edit > Undo
Command+Z
Ctrl+Z
Windows > Listen Masters
Command+0
Ctrl+0
Windows > Grand Master
Command+1
Ctrl+1
Windows > Inputs
Command+2
Ctrl+2
Windows > Wild Tracks
Command+3
Ctrl+3
Windows > Virtual Groups
Command+4
Ctrl+4
Windows > Bus Masters
Command+5
Ctrl+5
Windows > Matrix
Command+6
Ctrl+6
Windows > Output Masters
Command+7
Ctrl+7
Windows > Aux Matrix
Command+8
Ctrl+8
Windows > Aux Masters
Command+9
Ctrl+9
Windows > VRAS
Command+-
Ctrl+-
Mixer > Finish Fades
Command+;
Ctrl+;
Layout > Add Custom Utility Button
Command+'
Ctrl+’
Edit > Enable
Command+,
Ctrl+,
Edit > Disable
Command+.
Ctrl+.
Mixer > Cancel Fades
Command+/
Ctrl+/
Edit > Delete
Command+Delete
Ctrl+Delete
Windows > Log
Option+0
Alt+0
Windows > Subcue Library
Option+1
Alt+1
Windows > Cue Library
Option+2
Alt+2
Windows > Cue List
Option+3
Alt+3
Windows > Capture
Option+4
Alt+4
Windows > SpaceMap
Option+5
Alt+5
224
CUESTATION 5.5 USER GUIDE
Function
Shortcut (Mac)
Shortcut (Windows)
Windows > Transport
Option+6
Alt+6
Windows > Commands
Option+7
Alt+7
Windows > System Status
Option+8
Alt+8
Windows > Chat
Option+9
Alt+9
Focus: Display Menu
Option+D
Alt+D
Isolate (Meters Windows)
Option+I
Alt+I
Focus: Layout Menu
Option+L
Alt+L
Focus: Mixer Menu
Option+M
Alt+M
Focus: Network Menu
Option+N
Alt+N
Focus: Projects Menu
Option+P
Alt+P
Show EQ (Meters Windows)
Option+S
Alt+S
Focus: Show Strip (Meters Windows)
Option+T
Alt+T
Mute (Meters Windows)
Option+U
Alt+U
Focus: Windows Menu
Option+W
Alt+W
Windows > Listen Processing
Shift+Command+0
Shift+Ctrl+0
Windows > Input Processing
Shift+Command+2
Shift+Ctrl+2
Windows > Bus Processing
Shift+Command+5
Shift+Ctrl+5
Windows > Output Processing
Shift+Command+7
Shift+Ctrl+7
Windows > Aux Processing
Shift+Command+9
Shift+Ctrl+9
Windows > VRAS Input Processing
Shift+Command+-
Shift+Ctrl+-
Windows > Clone Window
Shift+Command+=
Shift+Ctrl+=
Edit > Batch Modify Control Point Entries
Shift+Command+B
Shift+Ctrl+B
Network > Connect
Shift+Command+C
Shift+Ctrl+C
Network > Disconnect
Shift+Command+D
Shift+Ctrl+D
Windows > Full Screen Mode
Shift+Command+F
Shift+Ctrl+F
Edit > Individualize Subcues
Shift+Command+I
Shift+Ctrl+I
Windows > Zoom Window
Shift+Command+M
Shift+Ctrl+M
225
APPENDIX B: CUESTATION KEYBOARD SHORTCUTS
Function
Shortcut (Mac)
Shortcut (Windows)
Edit > Share Subcues
Shift+Command+O
Shift+Ctrl+O
Mixer > Resume Fades
Shift+Command+P
Shift+Ctrl+P
Projects > Save As
Shift+Command+S
Shift+Ctrl+S
Edit > Lock Items
Shift+Command+U
Shift+Ctrl+U
Windows > Reset Window
Shift+Command+W
Shift+Ctrl+W
Layout > Open More Layout
Shift+Command+-
Shift+Ctrl+-
Mixer > Stop All Cue List Players
Shift+Command+/
Shift+Ctrl+/
Network > Disconnect All
Shift+Option+Command+D
Ctrl+Alt+Shift+D
Mixer > Master Stop
Shift+Option+Command+M
Ctrl+Alt+Shift+M
Layout > Open More Layout
Shift+Option+Command+O
Ctrl+Alt+Shift+O
Mixer > Silence
Shift+Option+Command+S
Ctrl+Alt+Shift+S
Mixer > Track From Top
Shift+Option+Command+T
Ctrl+Alt+Shift+T
Windows > Mixer Configuration
Command+Option+0
Ctrl+Alt+0
Windows > Input Meters
Command+Option+1
Ctrl+Alt+1
Windows > Bus Meters
Command+Option+2
Ctrl+Alt+2
Windows > Output Meters
Command+Option+3
Ctrl+Alt+3
Windows > Aux Meters
Command+Option+4
Ctrl+Alt+4
Windows > Listen Meters
Command+Option+5
Ctrl+Alt+5
Windows > Support Files
Command+Option+6
Ctrl+Alt+6
226
CUESTATION 5.5 USER GUIDE
Function
Shortcut (Mac)
Shortcut (Windows)
Windows > Script Execution
Command+Option+7
Ctrl+Alt+7
Windows > Key Mappings
Command+Option+8
Ctrl+Alt+8
Windows > Project Notes
Command+Option+9
Ctrl+Alt+9
Layout > Open Layout
Command+Option+O
Ctrl+Alt+
Windows > Access Policies
Command+Option+-
Ctrl+Alt+
Function
Shortcut (Mac)
Shortcut (Windows)
Access Policies > Invoke Selected Access Policies
Command+I
Ctrl+I
Access Policies > Rescind Selected Access Policies
Command+R
Ctrl+R
Access Policies > Reset Selected Policies
Shift+Command+R
Shift+Ctrl+R
Function
Shortcut (Mac)
Shortcut (Windows)
Focus: Name
Option+A
Alt+A
Focus: Choose Cue
Option+C
Alt+C
AutoHide Window
Option+H
Alt+H
Capture Isolated Channels
Option+I
Alt+I
Uncheck All Subcue Types
Option+K
Alt+K
Focus: Comment
Option+O
Alt+O
Focus: Recall
Option+R
Alt+R
Persistent Subcue Select
Option+S
Alt+S
Details Button
Option+T
Alt+T
ACCESS POLICIES WINDOW
CAPTURE WINDOW
227
APPENDIX B: CUESTATION KEYBOARD SHORTCUTS
Function
Shortcut (Mac)
Shortcut (Windows)
Use Channel Selects
Option+U
Alt+U
Focus: Share Existing Subcues
Option+X
Alt+X
Focus: Cue List Player
Option+Y
Alt+Y
Function
Shortcut (Mac)
Shortcut (Windows)
Focus: Name
Option+A
Alt+A
Page Selected Users
Option+G
Alt+G
Focus: Status
Option+S
Alt+S
Focus: Enter Chat Text
Option+T
Alt+T
Function
Shortcut (Mac)
Shortcut (Windows)
Subcue Entries > Capture Differences
Command+I
Ctrl+I
Subcue Entries > Update Subcues
Command+J
Ctrl+J
Subcue Entries > Recall Subcue Entry
Command+R
Ctrl+R
Subcue Entries > Instant Recall Subcue Entry
Command+T
Ctrl+T
Cues > Recall Cue
Shift+Command+R
Shift+Ctrl+R
Cues > Instant Recall Cue
Shift+Command+T
Shift+Ctrl+T
Add Entry (in subcue editor)
Option+A
Alt+A
Focus: Enabled (in subcue editor)
Option+B
Alt+B
Focus: Cues Menu
Option+C
Alt+C
Delete Selected
Option+D
Alt+D
Focus: Choose Files (for Wild Tracks subcue)
Option+F
Alt+F
Focus: Display (for Mixer Parameter subcue), or Focus: Lock to
Timecode (for Wild Tracks subcue)
Option+I
Alt+I
CHAT WINDOW
CUE LIBRARY WINDOW
228
CUESTATION 5.5 USER GUIDE
Function
Shortcut (Mac)
Shortcut (Windows)
Focus: Deck Key (for Wild Tracks subcue)
Option+K
Alt+K
Resolve Duplicates (for Mixer Parameter subcue), or Focus:
Deck Play Offset (for Wild Tracks subcue)
Option+O
Alt+O
Recall Selected (for subcues)
Option+R
Alt+R
Focus: Subcues Entries Menu
Option+S
Alt+S
Focus: Channel Select (for subcues)
Option+T
Alt+T
Update Subcue (for Wild Tracks subcue)
Option+V
Alt+V
Focus: Any Deck (for Wild Tracks subcue)
Option+Y
Alt+Y
Function
Shortcut (Mac)
Shortcut (Windows)
Cue Entries > Stab Timecode
Command+G
Ctrl+G
Subcue Entries > Capture Differences
Command+I
Ctrl+I
Subcue Entries > Update Subcues
Command+J
Ctrl+J
Subcue Entries > Recall Subcue Entry
Command+R
Ctrl+R
Subcue Entries > Instant Recall Subcue Entry
Command+T
Ctrl+T
Cue Entries > Recall Cue Entry
Shift+Command+R
Shift+Ctrl+R
Cue Entries > Instant Recall Cue Entry
Shift+Command+T
Shift+Ctrl+T
Add Entry (in subcue editor)
Option+A
Alt+A
Focus: Deck Enabled (in subcue editor)
Option+B
Alt+B
Delete Selected
Option+D
Alt+D
Focus: Choose Files (for Wild Tracks subcue)
Option+F
Alt+F
Show Timecode
Option+H
Alt+H
Focus: Display (for Mixer Parameter subcue), or Focus: Lock to
Timecode (for Wild Tracks subcue)
Option+I
Alt+I
Focus: Deck Key (for Wild Tracks subcue)
Option+K
Alt+K
CUE LIST WINDOW
229
APPENDIX B: CUESTATION KEYBOARD SHORTCUTS
Function
Shortcut (Mac)
Shortcut (Windows)
Resolve Duplicates (for Mixer Parameter subcue), or Focus:
Deck Play Offset (for Wild Tracks subcue)
Option+O
Alt+O
Recall Selected (for subcues)
Option+R
Alt+R
Focus: Subcues Menu
Option+S
Alt+S
Focus: Channel Select (for subcues)
Option+T
Alt+T
Focus: Cue Entries Menu
Option+U
Alt+U
Focus: Cue List Selector, or Update Subcue (for Wild Tracks
subcue)
Option+V
Alt+V
Focus: Any Deck (for Wild Tracks subcue)
Option+Y
Alt+Y
Function
Shortcut (Mac)
Shortcut (Windows)
Move Flip Row Up
F9
F9
Move Flip Row Down
F10
F10
Display > Show Aux Waits
Command+J
Ctrl+J
Display > Show Aux Fades
Command+K
Ctrl+K
Display > Show Aux Pans and Levels
Command+L
Ctrl+L
Function
Shortcut (Mac)
Shortcut (Windows)
Display > Show Waits
Command+J
Ctrl+J
Display > Show Fades
Command+K
Ctrl+K
Display > Show Levels
Command+L
Ctrl+L
INPUTS WINDOW
MATRIX WINDOW
230
CUESTATION 5.5 USER GUIDE
MIXER WINDOWS
Function
Shortcut (Mac)
Shortcut (Windows)
Page Up
F5
F5
Page Down
F6
F6
Page Left
F7
F7
Page Right
F8
F8
Step Up
Option+F5
Alt+F5
Step Down
Option+F6
Alt+F6
Step Left
Option+F7
Alt+F7
Step Right
Option+F8
Alt+F8
Function
Shortcut (Mac)
Shortcut (Windows)
Previous Bus
F7
F7
Next Bus
F8
F8
Display > Enable/Disable Snap to Cartesian Grid
Command+G
Ctrl+G
SpaceMap > Insert Image
Command+I
Ctrl+I
SpaceMap > Halt Playback
Command+K
Ctrl+K
Display > Lock SpaceMap
Command+L
Ctrl+L
SpaceMap > Recall Trajectory
Command+R
Ctrl+R
SpaceMap > Insert Triset
Command+T
Ctrl+T
SpaceMap > Zoom Out
Command+[
Ctrl+[
SpaceMap > Zoom In
Command+]
Ctrl+]
SpaceMap > Reset Zoom
Command+\
Ctrl+\
Display > Enable/Disable Snap to Polar Grid
Shift+Command+G
Shift+Ctrl+G
AutoRecall checkbox
Option+A
Alt+A
Focus: AutoRecall Cue ID
Option+C
Alt+C
SPACEMAP WINDOW
231
APPENDIX B: CUESTATION KEYBOARD SHORTCUTS
SUBCUE LIBRARY WINDOW
Function
Shortcut (Mac)
Shortcut (Windows)
Subcues > Recall Subcue
Command+R
Ctrl+R
Subcues > Instant Recall Subcue
Command+T
Ctrl+T
Add Entry (in subcue editor)
Option+A
Alt+A
Focus: Enabled (in subcue editor)
Option+B
Alt+B
Delete Selected
Option+D
Alt+D
Focus: Choose Files (for Wild Tracks subcue)
Option+F
Alt+F
Focus: Show Filter
Option+H
Alt+H
Focus: Display (for Mixer Parameter subcue), or Focus: Lock to
Timecode (for Wild Tracks subcue)
Option+I
Alt+I
Focus: Deck Key (for Wild Tracks subcue)
Option+K
Alt+K
Resolve Duplicates (for Mixer Parameter subcue), or Focus:
Deck Play Offset (for Wild Tracks subcue)
Option+O
Alt+O
Recall Selected (for subcues)
Option+R
Alt+R
Focus: Subcues Menu
Option+S
Alt+S
Focus: Channel Select (for subcues)
Option+T
Alt+T
Update Subcue (for Wild Tracks subcue)
Option+V
Alt+V
Focus: Any Deck (for Wild Tracks subcue)
Option+Y
Alt+Y
Function
Shortcut (Mac)
Shortcut (Windows)
Files > Import Files
Command+I
Ctrl+I
SUPPORT FILES WINDOW
232
CUESTATION 5.5 USER GUIDE
WILD TRACKS WINDOW
Function
Shortcut (Mac)
Shortcut (Windows)
Display > Browse Virtual Drive File
Command+I
Ctrl+I
Display > Bar Graph Layout One Row Per Voice
Command+J
Ctrl+J
Display > Bar Graph Layout One Row Per Send
Command+K
Ctrl+K
Display > Bar Graph Layout One Row Per Entry
Command+L
Ctrl+L
Recall Rehearsal Point
Command+R
Ctrl+R
Display > Track Display Height Make Bars Shorter
Command+[
Ctrl+[
Display > Track Display Height Make Bars Taller
Command+]
Ctrl+]
Display > Track Display Height Reset to Default Bar Height
Command+\
Ctrl+\
Set Rehearsal Point
Shift+Command+R
Shift+Ctrl+R
Choose Files
Option+F
Alt+F
Lock to Timecode
Option+I
Alt+I
Focus: Deck Key
Option+K
Alt+K
Focus: Deck Play Offset
Option+O
Alt+O
Update Subcue
Option+V
Alt+V
Any Deck
Option+Y
Alt+Y
Zoom Deck View In
Option+Command+I
Ctrl+Alt+I
Pan Deck View Left
Option+Command+J
Ctrl+Alt+J
Pan Deck View Right
Option+Command+K
Ctrl+Alt+K
Zoom Deck View Out
Option+Command+U
Ctrl+Alt+U
233
APPENDIX B: CUESTATION KEYBOARD SHORTCUTS
Function
Shortcut (Mac)
Shortcut (Windows)
Pan Deck View to Start
Shift+Option+Command+J
Shift+Ctrl+Alt+J
Pan Deck View to End
Shift+Option+Command+K
Shift+Ctrl+Alt+K
Zoom Deck View All
Shift+Option+Command+U
Shift+Ctrl+Alt+U
234
APPENDIX C: D-MITRI TEXT COMMANDS
This document describes the various text commands that are accepted by CueStation. Text
commands are used in various places, including port 18034, external commands, etc. Variables appear in brackets.
NOTE: Alias values can be included in any text command by prepending a dollar
sign ($) to the alias's name, and the aliases will be expanded when the command
is executed. For example, if there is an alias named Meyer with an associated value of
123 in the Active Config, the text command “recall cue $Meyer” is interpreted as “recall
cue 123”.
Command
Description
go [on player N]
Equivalent to pressing a GO button in the Transport window. If (on
player N) is specified, then the GO button will be pressed on Cue List
Player #N; if not, it will default to Cue List Player #1.
stop [on player N]
Equivalent to pressing a STOP button in the Transport window. if (on
player N) is specified, then the STOP button will be pressed on Cue List
Player #N; if not, it will default to Cue List Player #1.
next [D] [on player N]
Moves the upcoming-cue position (aka the yellow bar) in the Transport
window by D positions. For example, “moveby 1” is the same as
“next”, and “moveby -1” is the same as “previous”. Attempts to move
off the top or bottom of the list will move the yellow bar to the top/bottom of the list, so “moveby -99999” is a good way to “skip to the top”
of the cue list. If no player ID is specified, the command will be applied
to Cue List Player #1. If no delta is specified, a delta of 1 is assumed.
moveby [D] [on player N]
prev [D] [on player N]
previous [D] [on player N]
This works the same as “next” and “moveby”, except that the sense of
the delta values is negated; e.g. “prev 1” will move the yellow bar up
one in the Cue List, and “prev -1” will move the yellow bar down one in
the Cue List. If no delta is specified, a delta of 1 is assumed.
top [on player N]
Moves the upcoming-cue position of specified Cue List Player to the
top of the Cue List. If no player ID is specified, the command will be
applied to Cue List Player #1.
bot [on player N]
Moves the upcoming-cue position of specified Cue List Player to the
bottom of the Cue List. If no player ID is specified, the command will be
applied to Cue List Player #1.
bottom [on player N]
235
APPENDIX C: D-MITRI TEXT COMMANDS
Command
Description
recall (cue,subcue) D [on player N]
Recalls the specified cue or subcue. If the “on player N” suffix is not
present, the recall will occur on Cue List Player #1.
update (cue,subcue) D
Updates the control point values in the specified cue or subcue to the
mixer's current state for those values.
log (text)
warn (text)
error (text)
crit (text)
Prints the specified text to the system log. The command word used
determines the severity level at which the text is logged.
debug (text)
trace (text)
get [tag=] (addresses)
Requests the current values of the specified addresses. For example,
“get input 1-8 level” will cause the current values of the first 8 input faders to be printed. If an optional tag is specified (e.g. “get foo = input 18 level”) then the returned values text will include the specified tag
string (e.g. “foo”).
set (addresses) = (values)
Sets the specified values to the specified addresses. The syntax is similar to what is seen in Mixer Parameter subcues. For example, “set
input 1-8 level = +5.5” or “set output 5,7,9-11 mute = false”. You can
specify optional wait and fade times like this: “set input 1 level = -50.0
waitTime=5.5 fadeTime=10.0” (which specifies a wait of 5.5 seconds
followed by a fade over 10 seconds).
increase (addresses) by (values)
Increases the specified addresses by the specified values. For example, “increase input 1-8 level by +5.5”. You can specify optional wait
and fade times like this: “increase input 1 level by +3.0 waitTime=5.5
fadeTime=10.0” (which specifies a wait of 5.5 seconds followed by a
+3dB fade over 10 seconds).
decrease (addresses) by (values)
Decreases the specified addresses by the specified values. For example, “decrease input 1-8 level by +5.5”. You can specify optional wait
and fade times like this: “decrease input 1 level by +3.0 waitTime=5.5
fadeTime=10.0” (which specifies a wait of 5.5 seconds followed by a 3dB fade over 10 seconds).
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CUESTATION 5.5 USER GUIDE
Command
Description
fade (addresses) (up/down/to) (values) over (time period)
This command is a convenience synonym for the “set”, “increase”, or
“decrease” commands described above. It can be used to more easily
specify control point changes with fades.
Some examples:
“fade input 1 level to +5dB over 3 seconds”
“fade input 1,3,5 level up 5dB over 3 seconds”
“fade input 1-4 level down 5dB over 500 milliseconds”
“fade input 1-4 level down 20dB”
Note that if a time period is not specified, a fade time of 1 second will
be used by default.
subscribe (addresses)
Tells the system to send text messages whenever the specified control
point(s) change. Also an initial update is always sent immediately after
the subscribe command is received.
Example:
subscribe input 1-2 level
Got: Input 2 Level = -inf
Got: Input 1 Level = -inf
unsubscribe (addresses)
Removes the specified addresses from the current subscribedaddresses set for this client.
unsubscribeall
Removes all subscribed addresses from the subscribed-addresses set
for this client.
subscribeevent (pattern)
Tells the system to send text messages whenever the events whose
event strings match the specified pattern occur.
Example:
subscribeevent hexbytes*
Event: hexbytes unit 1 bytes F0 1F 7E 01 02 F7
unsubscribeevent (pattern)
Cancels a previously subscribed event pattern. (The string passed to
this command should be one that was previously passed to “subscribeevent”). Note that wildcards specified in (pattern) are not
expanded to match multiple previous patterns that were passed to
“subscribeevent”; rather, at most only a single pattern will be unsubscribed.
Example:
unsubscribeevent hexbytes*
unsubscribeallevents
Cancels all previously created event subscriptions for this client.
237
APPENDIX C: D-MITRI TEXT COMMANDS
Command
Description
watch (nodepath) [quietly]
Starts watching the specified nodes in the project. Whenever a project
node whose path matches (nodepath) is created, changed, or
destroyed, update text will be generated to notify you about the
change.
Example:
watch log/*
log/I0: QNetLogEntry: name=[Received state #0 of primary database
from the senior peer.] when=[2010/08/31 12:56:39] severity=[info]
sourceName=[[email protected]] msgSerNum=[0] sourceSerNum=[1000] scloc=[JBTS]
log/I1: QNetLogEntry: name=[Sending state #0 of primary database to
peer 429-493-4527.] when=[2010/08/31 12:56:39] severity=[info]
sourceName=[[email protected]] msgSerNum=[1] sourceSerNum=[1000] scloc=[JBG8]
If the “quietly” keyword is specified, then existing nodes won't be
printed; only future updates will be printed.
If you watch a node that has a child-nodes-index, then instructions for
reproducing that index will be printed also.
For example:
watch default/cuelists/0
default/cuelists/0: QNetCueList: name=[Default Cue List]
index/default/cuelists/0: Clear Index
index/default/cuelists/0: Insert child I18 at position 0
index/default/cuelists/0: Insert child I5 at position 1
index/default/cuelists/0: Insert child I19 at position 2
[...]
index/default/cuelists/0: Remove child I19 from position 2
index/default/cuelists/0: Insert child I19 at position 10
unwatch (nodepath)
Cancels a previously set watch path.
unwatchall
Cancels all previous set watch paths for this client.
print (nodepath) (maxdepth=D)
Prints all nodes matching (nodepath), and recursively prints their child
nodes as well. You can optionally specify a maxdepth=D argument to
limit the maximum depth of the recursion; by default it will recurse as
far as it can.
Example:
print default/subcues/0
default/subcues/0: QNetSubcueHeader: name=[jr_FIRE DRILL!]
type=[1] typeString=[Commands]
default/subcues/0/scd: [External_Control / Print Message To Log]:
enabled=1 waitTime=0 Cmt=[] tttMode=1 tttKey=[] user=0
238
CUESTATION 5.5 USER GUIDE
Command
Description
ping [tag]
Sends a “Ping” to dmixerd which is immediately echoed back with a
corresponding “Pong”. You can optionally specify a tag string, which
will be included in the Pong result.
projectping [tag]
This is similar to the “ping” command, except that the ping is routed
through dcued and back, rather than just through dmixerd. This can be
helpful when you want to be notified that dcued has finished processing a command that you previously sent it.
heypython (slotindex) [message]
This command sends a text message to the Python script running in
slot (slotindex) in the script execution window. The message can be
any string you like; it will be passed in as the argument in a call to UserCommandReceived() in the Python script. The default implementation
of UserCommandReceived() in the BasicClient class will try to execute
the string as Python source code; however scripts can (and often do)
override UserCommandReceived in a subclass of BasicClient to to
handle the incoming text in a different manner.
Some values for (slotindex) that have special meanings are:
-1 = send to all python scripts (whether shown in the Script Execution
window or not)
-2 = send to all “foreground” python scripts (i.e. all scripts shown in the
Script Execution window)
-3 = send to all “background” python scripts (i.e. all scripts not shown
in the Script Execution window)
runpython (slotindex) (filename)
[arguments]
Launches a new Python script process in the specified slot in the Script
Execution window. A slotindex value of -1 will cause the script to be
run “in the background” (i.e. not shown in the Script Execution window). The filename should be the name of a python script in the Support Files window, or in the templates folder.
trigger (eventstring)
Sends a trigger-event to the CueStation system. Any triggers (previously set up with the “External Control /Setup Triggers” command) that
match (eventstring) will be activated.
wait (time period)
Pauses the OSC parser for this client for the specified period of time.
For example, “wait 5” will cause no more OSC commands to be executed after this one (for this client) until 5 seconds have passed. “Wait
100 milliseconds” would cause a 100 mS pause.
If no argument is provided, then a wait time will be calculated so that
command execution resumes immediately after the (“set”, “increase”,
“decrease”, or “fade”) command most recently sent by this client finishes its wait/fade execution.
239
APPENDIX C: D-MITRI TEXT COMMANDS
Command
Description
cancel (all)
Cancels any current time period for this client (caused a previous “wait”
command) as well as any commands that had been queued up to execute when the time period completed.
If the keyword “all” is specified (i.e. “cancel all”) then all OSC clients in
the system will have the “cancel” operation applied to them, rather
than only the current client.
osc (commandpath) [osc_args]
This command tells CueStation to execute an OpenSoundControl
command that is specified in the comma-separated arguments in the
text line. For example, to have CueStation execute a “Page Groups /
Change Page” command that increments the current-page value of the
first Page Group, you could enter this text command:
osc /dcasld/changepage (int32)0, (int32)0, (int32)1, (int32)0, (int32)0
(See the “OSC” tab in the Command Subcue Editor for a template of
the arguments to use for any given type of Command)
Supported argument types (which should match the types shown in the
Command Subcue Editor) and their values are as follows:
(bool) — boolean value: true or false
(float) — floating point value e.g. 1.2345
(int32) — 32 bit integer value: e.g. 123456
(int64) — 64 bit integer value: e.g. 12345678901234
(string) — character string value: e.g. this is a test. Can be “quoted”,
but quotes are only necessary if you want leading or trailing spaces or
a comma to be included in the string
(blob) — a sequence of hexadecimal bytes, e.g. 0xF0 0x1F 0x7E 0x00
0xF7
(point) — a pair of floating point values, e.g. 1.5 2.5
(address) — a control point address, e.g. Input 5 Level
(null) — OpenSoundControl NULL value (aka nil)
enablemodule (modulenamestring)
Tells CueStation to enable, disable, or toggle the current enabled/disable status of the specified module or modules. Disabled modules will
not pass audio, and will be considered inelegible when the job scheduler is choosing modules to fill various audio processing tasks. (modulenamestring) can be the name of a CueStation module (as specified in
the Mixer Configuration window) or a wildcard pattern matching multiple modules.
disablemodule (modulenamestring)
togglemodule (modulenamestring)
240
CUESTATION 5.5 USER GUIDE
Command
Description
setalias (name) = (values)
Tells CueStation to set, delete, or modify the specified Alias values (as
seen in the Aliases tab in the (Active Config) in the Mixer Configuration
window. These commands work similarly to the “External Control / Set
Alias” command type. In particular:
“setalias” will set the value(s) of an alias to the specified values, creating the alias first if necessary.
“deletealias” will delete any aliases whose names match the specified
name pattern.
“addaliasvalues” will add the specified values to existing aliases whose
names match (namepattern), if they are not already present. An alias
will be created first, if no matching aliases exist.
“removealiasvalues” will remove the matching values from existing
aliases whose names match (namepattern), if they exist.
deletealias (namepattern)
addaliasvalues (namepattern) =
(values)
removealiasvalues (key) =
(valuepatterns)
setstatusupdates [true/false]
Tells CueStation to start (or stop) sending regular status-updates to this
client.
begin
This command causes the receiving command parser to enter batchprocessing mode. In batch-processing mode, commands are not executed, they are merely queued up for processing later. When the
matching “end” command is received, all of the queued up commands
will be processed at once. This allows the entire command group to be
sent as a single RepDB transaction, which can be more efficient than a
large number of smaller transactions. Nesting is allowed; nested begin/
end commands will be ignored (only the outermost begin/end will have
any effect).
Example:
begin
set bus 1 output 1 level = 1.0
set bus 2 output 1 level = 1.0
set bus 3 output 1 level = 1.0
set bus 4 output 1 level = 1.0
end
end
This command marks the end of a batch. There should be one “end”
sent for every “begin” command sent. The end (if it is not nested inside
another (begin, end) pair) will cause the gateway to finally execute any
commands it had been queuing up.
241
APPENDIX C: D-MITRI TEXT COMMANDS
It is possible for a client to send ASCII text commands inside UDP packets to a CueStation
system, even if the client does not know the IP address of any of the modules in the CueStation system. To do this, the client just needs to know the CueStation system's system-name
string. The client can then use a hashing algorithm equivalent to the one shown in the Python
code below to compute the multicast IP address that corresponds to the system-name string,
and send UDP packets to that IP address. The senior dmixerd peer will be listening to that
multicast group and will receive and process the UDP packets.
#
#
#
#
Given a CueStation system name as an argument, this script something or other
prints out the IPv6 multicast address that the senior
dmixerd peer will listen on for incoming OpenSoundControl
and ASCII text commands over UDP.
import sys
import socket
systemName = sys.argv[1]
print “For CueStation system name: “, systemName
hash = 631741 # arbitrary magic starting number
for c in systemName:
hash = (hash*33)+ord(c)
hash = hash % 18446744073709551616 # keep hash bounded to 64-bits
s = “ff12:0000:0001:0000”
for i in range(0, 16):
if (i%4) == 0:
s = s + “:”
s = s + “%x”%((hash>>(60-(i*4)))&0x0F)
print “IPv6 multicast address is: “, socket.inet_ntop (socket.AF_INET6,
socket.inet_pton(socket.AF_INET6, s))
242
APPENDIX D: OS X PREPARATION
APP NAP
OS X 10.9 “Mavericks” and 10.10 “Yosemite” have an App Nap feature that reduces energy
consumption by putting applications that are temporarily unused or in the background into a
Nap state. This Nap state can cause windows in CueStation 5.5.1 and 5.5.2 to flash red, blue,
or magenta.
It is recommended that App Nap be disabled for CueStation 5.5.1 and 5.5.2. The following
procedure is not necessary for other versions, as this behavior is not present in CueStation
5.5.3 and above.
To disable App Nap with CueStation:
1. Make sure CueStation is closed.
2. From the OS X desktop, choose Go > Applications to open the Applications folder.
3. Right-click the CueStation application icon and choose Get Info.
Get Info on CueStation Application
243
APPENDIX D: OS X PREPARATION
4. In the Information window, enable Prevent App Nap.
Prevent App Nap Enabled
5. Close the Information window.
244
CUESTATION 5.5 USER GUIDE
INDEX
A
Access policies 209
active cue 104
App Nap 243
AutoFollow 101
Automation 77
aux masters 46
Aux Mute 51
B
bus masters 43
C
Capture 83
Differences 88
procedure 108
replace, amend, existing 116
New 78
subcue types 87
trajectory subcues 152
Update Subcues 88
procedure 109
Use Channel Selects 79
window 77
Control Point Sets tab 96
Index Sets tab 95
Capture Differences (see Capture) 108
Channel Meters 72
Channel Select 46, 48, 50, 77, 78
buttons 36
exceptions 81
Follow Channel Selects 82
Master 40
Chat and Paging 207
connection status 63
Control Point Addresses 94
identifying 94
Control Point Sets 96
Control Points 75
adding to subcues 110
adjust indices 128
batch editing 113
definition 75
editing 109, 128
editing with Preview Subcue feature 110
enabling 129
fade 129
overriding semi-compact view 129
Recapture All Rows 110
Recapture Selected Rows 110
removing from subcues 111
Search and Replace 113
setting 77
sorting 129
value 129
wait 129
Copy-On-Write 111
effect on externals 111
COW (see Copy-On-Write) 111
Cue Library
window 122
Cue List Players 107
automation 107
configuring 107
subcues 81
Cue Lists 76
adding cues 100
building 98
245
INDEX
creating 78, 99
definition 76
dragging audio files into 174
preloading Wild Tracks Decks 178
reordering cues 100
window 99
cue-on-deck 103, 104
Cues 76
adding subcues to 124
capturing (see Capture) 78
copy-on-write 111
creating new 124
definition 76
editing 108
editing (see Capture) 78
overlap 123
recalling 104
refs 123
sorting 123
triggering with time code 102
wild tracks channel assignments 123
Custom utility buttons 202
creating 202
example 203
D
Deck (see Wild Tracks Deck) 153
D-Mitri Live Backup 23
Drive Setup
importing audio 157
Drive setup (see Wild Tracks, Drive Setup)
155
E
Edit menu
Batch Modify Control Point Entries 113
246
Find 112
Individualize Shared Subcues 112
Optimize Duplicate Subcues 112
externals 130
adjust Wild Tracks media path 185
autodraw trajectory 152
control decks by key 182
example 131
MMC 131
F
fade time 37, 39
Follow Channel Selects 82
G
gain 36
Go 103
Grand Master 50
I
Index Sets 95
creating 95
examples 95
Index Type 95
Index Values
asterisk in 95
Inputs
aux sends 36
bus assign 36
PAFL 39
pan 36
phantom power 36
trim 36
Isolate 40
CUESTATION 5.5 USER GUIDE
K
Key mappings 204
action 205
client ip 205
comment 205
examples 201
id 205
key 205
modifiers 205
target id 205
target type 205
window 204
L
labels 36
layouts 200
mapping to hotkeys 200
opening with an external 200
save as default 200
Listen Masters (see PAFL) 47
Log
entries 67
icon 64
window 66
M
Master Stop 51, 103
Matrix
window 53
merge projects
effects of 198
merge projects (see opening files) 198
Meters
tablet controls 73, 156
UDP vs. TCP 73
Mixer Configuration 13
Aliases tab 20
backup modules (see D-Mitri Live Backup) 23
Event Triggers tab 21
in D-Mitri flash memory 14
manually configuring 15
Modules tab 18
sending 16
testing 24
window 17
Mixer Settings subcues 182
MMC (Multi-Media Control) 131
O
opening files 196
custom project filter 198
dialog 196
load layout 197
send configuration 197
output masters 44
P
pad 36
PAFL
channel controls 46, 47
PAFL masters 47
Page alert 65
preamp 36
Project file
definition 76
Project files, opening 197
Projects
notes 206
projects
title 16
Projects, reports 206
247
INDEX
S
saving files 193
backup 193
dialog 195
directory shortcuts 195, 196
recent files 195
to flash 194
scale 36
Solo 40, 51
Solo-In-Place 51
SpaceMap 133
creating 145
editing 141, 146
grid 140
inserting an image 144
settings 143
linking nodes 148
nodes 134
adding 141
Derived nodes 139
Link Gains 140
Silent nodes 138
Speaker nodes 136
Virtual nodes 137
subcues 81
testing 141, 148
trajectories (see Trajectories) 135
trisets 134, 147
Subcue Library
subcue type filter 126
window 125, 130
Subcue Types
selecting 78
Subcues 76
comment 127
copy-on-write 111
creating new 130
custom types 94
definition 76
248
editing 109
enabling and disabling 127
externals 130
Individualize Shared 112
matching name to cue name 112
Optimize Duplicate 112
refs 127
shared references 112
Support files
layout files 200
System Status
maximums 71
window 68
T
text commands 235
Timecode
display 105
TC-Fwd ONLY 101
triggering cues 102
Tooltips 94
Track-From-Top 105
externals
effect on 106
key string 106
initiated from Cue List window 106
Trajectories 135
auto-cue 150
autodraw 152
Bus Playback Settings 142
creating 149
editing 143, 150
playback controls 141
playing 151
recording 141
testing 151
Transport
Cue List Players 103
CUESTATION 5.5 USER GUIDE
navigating the cue list 104
time code (see also Time Code) 105
window 103
Trim 51
U
Update Subcues (see Capture) 109
V
verify wild tracks subcues 197
VGroups 49
assigning to channels 39
Virtual Groups (see VGroups) 49
VirtualD-Mitri 29
audio processing 31
controls 30
job manager 31
mixer control 31
project database 31
virtual CueConsole 32
VRAS 187
channel assignments 189, 190
diffusion channels 188
early reflections 190
ER zone configuration 190
input matrix type 188, 190
max reverb time 188
output matrix type 190
reverberation 188
subcues 191
type 188
unitary level 188
window 187
W
wait time 37, 39
Wild Tracks
batch files 162, 184
Deck (see Wild Tracks Deck) 153
Deck Graphics 160
Deck ID 177
deck keys 182
Drive Setup 156
entries 167
parameters of 167
envelopes 162
file search path 184
file types 178
loop buffer time 181
loops 180
media path subcue 185
Meters 154
number of channels 155
PAFL 155
regions 180
subcues (see Wild Tracks Deck subcues)
173
vamping 181
verify subcues 197
window 153
WTRX ID 177
Wild Tracks Deck 160
controls 164
Deck info 164
definition 153
on complete 177
On Recall action 176
preloading 178
Recall position 176
sends 177
subcues 81, 173, 178
capturing 175
creating 174
249
INDEX
recall time 178
timeline view 160
250
Meyer Sound Laboratories Inc.
2832 San Pablo Ave.
Berkeley, CA 94702
www.meyersound.com
T: +1 510 486.1166
F: +1 510 486.8356
© 2015
Meyer Sound. All rights reserved.
CueStation User Guide, PN 05.176.107.01 A
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